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– subordinate time to movement in space (Deleuze 2005a[1986] : 30ff). The movement-image constitutes an indirect image of time, because time flows from human action and re-action. The movement-image evokes history as a progression of linear or spiral events that take place as a consequence of the dialectics between humans and their environment. According to Deleuze, the movement-image of classical cinema – and the trust it showed in the capacity of human agency and reasoning – suffered a huge disturbance in the mid-twentieth century. Awakening to

in Descending with angels
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of the time-image is the reinstatement of belief in the world. As he writes, modern cinema makes us ‘believe, not in a different world, but in a link between man and the world, in love or life, to believe in this as in the impossible, the unthinkable, which nonetheless cannot but be thought’ (Deleuze 2005b : 164). Even though Deleuze locates this development in the rise of a particular form of avant-garde cinema in the mid-twentieth century, many of his formulations resonate well with Kierkegaard's understanding of the double movement of faith conceived of as the

in Descending with angels