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
In ‘Myths of Violence’, Brad Evans offers a possible explanation of what motivates solidarity with migrants and asylum seekers in Europe. For Evans, instead of the privilege of absolute power, violence is the outcome of asymmetric freedom, ‘the freedom to punish and destroy … over the freedom to resist or … to flee’. With reference to GillesDeleuze, he argues that oppression not only denies the rights of the oppressed but restricts their movement. He challenges a conception of ‘the political’ that he feels legitimises the continuation of violence in
destroy, which triumphs over the freedom to resist or the freedom to flee. Paul Virilio was correct: all wars are wars of movement ( Virilio and Lotringer, 1983 ). And as GillesDeleuze further rightly insisted, if a person is so oppressed, it is not that their rights are being denied but rather that their movements are restricted ( Deleuze, 1995 : 122). Arendt showed that in cases of extreme violence, what marks out the distinction between perpetrators and victims was that everything was possible, and nothing could be resisted ( Arendt, 1976 ). But no system of power
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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
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
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