A Deleuzian Gothic

The insights of Gilles Deleuze‘s film-philosophy offers a distinctive theoretical approach to Gothics remarkable affects and temporal effects. Introducing key critical tools, I apply them to Neil Jordan‘s Interview with the Vampire (1994), as well as asserting the broader relevance of Deleuze to Gothic studies.

Gothic Studies
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Theories of filmic reality

In formulating a notion of filmic reality, this book offers a novel way of understanding our relationship with cinema. It argues that cinema need not be understood in terms of its capacities to refer to, reproduce or represent reality, but should be understood in terms of the kinds of realities it has the ability to create. The book investigates filmic reality by way of six key film theorists: André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. In doing so, it provides comprehensive introductions to each of these thinkers, while also debunking many myths and misconceptions about them. Along the way, a notion of filmic reality is formed that radically reconfigures our understanding of cinema.

This essay deals with the temporality of film through an examination of narrative, structure and image in Sam Mendes’ film American Beauty (2000), referring to both Gilles Deleuze and Henri Bergson‘s work on time. I argue that the repetition of formal elements (images, settings, colours, shapes, and textures) creates a kind of internal rhyme that is suggested appeals to human aesthetic rhythmic sensibilities and invites the spectators imaginative interplay. This temporal pattern speaks of a particularly human rhythmic design, and provides an escape from the ‘standardised, context free, homogeneous’ clock time ‘that structures and times our daily lives’.

Film Studies

hedonist impulses, A/traverso experimented with proto-punk graphics that reflected an innovative idea of language which was imbued with the philosophy of Gilles Deleuze and Félix Guattari. The title of the magazine can be translated as ‘through’, ‘going through’ or ‘crossing over’. It refers to the concept of transversalité, which was developed by Guattari in order to seek alternative ways of understanding the notion of subjectivity, as well as to move beyond the duality between the verticality of hierarchical groups and horizontal forms of self-organisation that end in

in Art, Global Maoism and the Chinese Cultural Revolution
Foucault’s genealogical theatre of truth

importance Foucault gives to theatrical repetitions and dramas and Gilles Deleuze’s insistence on the theatrical potentialities of contemporary philosophy in the 1960s. Deleuze’s preface to his book Difference and Repetition , published in 1968, invokes the need for new means of philosophical expression whose quest ‘must be pursued today in relation to the renewal of certain other

in Foucault’s theatres
The difference of Deleuze and Derrida

suggestion is to philosophize in terms of becoming and doing rather than in terms of being. I will consider Gilles Deleuze and Jacques Derrida as two contemporary philosophers who both philosophize border and difference in terms of becoming and doing rather than being. While both problematize approaching the question of identity and difference as a question of being, I argue that they do it in very different ways, and it is this difference that I will explore here. Ultimately, I will argue that the Deleuzian ‘becoming’ remains closer to traditionally ontological concerns

in The political materialities of borders

. Thereafter, a revision of his earlier, complementary works leads to an analysis of In the City of Sylvia and its construction, deconstruction and reconstruction of memory and myth by allusion to Henri Bergson’s theory of an intuitive sense of the durée [duration] of time and its relevance to Gilles Deleuze’s theory of the time-image, as well as the affined philosophies of the flâneur and the psychogeography of the dérive

in Spanish cinema 1973–2010

emergence of what Gilles Deleuze calls the ‘percept’. A ‘percept’ differs from a perception in so far as it is a mode of capture of the sensible world which lies either below or beyond a certain threshold (which would mark the moment of closure required for perceptions to form). Hence, ‘les percepts peuvent être télescopiques ou microscopiques, ils donnent aux personnages et aux paysages des dimensions de géants, comme s

in Leos Carax
Shakespeare’s challenges to performativity

dated back to the figure of the poet-prophet in antiquity, a relationship that may explain why Shakespeare's plays so frequently draw on prophecies to fuel a dramatic narrative. In the second part, I will discuss how the language of prophecy could trick audiences into believing in the supernatural power of prophecies, despite the fact that the language used to utter such prophecies turns out to be, paradoxically, non -performative. Instead, to borrow a concept from Gilles Deleuze, I will argue in the third part that prophecies make language ‘stutter’, rather than

in Shakespeare and the supernatural
The various shapes of Marcus Coates

fact that whilst Nagel believed that we are unable to imagine what it is like for a bat to be a bat, he did concede we might instead behave as a bat behaves. 8 In each of the aforementioned works, Coates imitates various non-human animal behaviours with the aim of experiencing the world as a fox, a stoat or a bird, employing a makeshift and comic aesthetic that serves to highlight the absurdity – and even the impossibility – of the task the artist has set himself. Whereas the philosophers Gilles Deleuze and Félix

in In the company of wolves