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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 lives’.
towards migrants. 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 Gilles Deleuze, 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 Gilles Deleuze 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
Benevolencija Rwanda: Grassroots Project Evaluation ( Amsterdam : La Benevolencija – Humanitarian Tools Foundation ). Kagame , A. ( 1956 ), ‘La philosophie Bantu-Rwandaise de l’être’ . Classe des sciences morales et politiques: Mémoires in 8 . Nouvelle série, tome xii, fasc. 1 . ( Brussels : Académie royale des sciences colonials ). Longman , T. ( 2017 ), Memory and Justice in Post-Genocide Rwanda ( Cambridge : Cambridge University Press ). Macgregor Wise , J. ( 2005 ), ‘Assemblage’ , in Stivale , C. J. (ed.), Gilles Deleuze: Key Concepts
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
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
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
psychophysiology and psychiatry, exhaustion is a dangerous state that will lead to apathy, self-destruction and, finally, the death of the subject. From the perspective opened up by philosopher Gilles Deleuze in his essay on Beckett's plays for television, ‘L’Épuisé’, exhaustion is located on the threshold between the breakdown of the subject and the invention of an unforeseen possibility (Deleuze, 1992 , 57–106; 1995 , 3–28; 1998 , 152–74). Deleuze uses the term exhaustion for two different states. Exhaustion indicates a psychophysiological state but is