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.
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
importance Foucault gives to theatrical repetitions and dramas and
GillesDeleuze’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
suggestion is to philosophize in terms of
becoming and doing rather than in terms of being.
I will consider GillesDeleuze 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
hedonist impulses, A/traverso experimented
with proto-punk graphics that reflected an innovative idea of language which
was imbued with the philosophy of GillesDeleuze 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
. 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 GillesDeleuze’s theory of the
time-image, as well as the affined philosophies of the flâneur
and the psychogeography of the dérive
emergence of what GillesDeleuze 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
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 GillesDeleuze, I will argue in the third part that prophecies make language ‘stutter’, rather than
: Syrens, 1994).
24 Hélène Cixous and Mireille Calle-Gruber, Rootprints: Memory and Life Writing , trans. Eric Prenowitz (London: Routledge, 1997), 18.
25 Cixous, Three Steps on the Ladder of Writing , 124–5.
26 Cixous, Three Steps on the Ladder of Writing , 81.
27 Cixous, ‘Writing Blind’, 144.
28 GillesDeleuze, ‘Hélène Cixous or Stroboscopic Writing’, trans. Martin McQuillan, in Reading Cixous Writing , ed. Martin McQuillan, special issue of Oxford Literary Review , 24 (2002), 204.
29 Jacques Derrida, H.C. for