Cinema 1: The Movement-Image

Cinema The Movement Image Discusses the theoretical implications of the cinematographic image based on Henri Bergson s theories

Discusses the theoretical implications of the cinematographic image based on Henri Bergson s theories

  • [PDF] Cinema 1: The Movement-Image | by ✓ Gilles Deleuze Hugh Tomlinson Barbara Habberjam
    165 Gilles Deleuze Hugh Tomlinson Barbara Habberjam
Cinema 1: The Movement-Image

  1. Deleuze is a key figure in postmodern French philosophy Considering himself an empiricist and a vitalist, his body of work, which rests upon concepts such as multiplicity, constructivism, difference and desire, stands at a substantial remove from the main traditions of 20th century Continental thought His thought locates him as an influential figure in present day considerations of society, creativity and subjectivity Notably, within his metaphysics he favored a Spinozian concept of a plane of immanence with everything a mode of one substance, and thus on the same level of existence He argued, then, that there is no good and evil, but rather only relationships which are beneficial or harmful to the particular individuals This ethics influences his approach to society and politics, especially as he was so politically active in struggles for rights and freedoms Later in his career he wrote some of the infamous texts of the period, in particular, Anti Oedipus and A Thousand Plateaus These texts are collaborative works with the radical psychoanalyst F lix Guattari, and they exhibit Deleuze s social and political commitment.Gilles Deleuze began his career with a number of idiosyncratic yet rigorous historical studies of figures outside of the Continental tradition in vogue at the time His first book, Empirisism and Subjectivity, isa study of Hume, interpreted by Deleuze to be a radical subjectivist Deleuze became known for writing about other philosophers with new insights and different readings, interested as he was in liberating philosophical history from the hegemony of one perspective He wrote on Spinoza, Nietzche, Kant, Leibniz and others, including literary authors and works, cinema, and art Deleuze claimed that he did not write about art, literature, or cinema, but, rather, undertook philosophical encounters that led him to new concepts As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts Additionally, according to Deleuze and his concepts of difference, there is no identity, and in repetition, nothing is ever the same Rather, there is only difference copies are something new, everything is constantly changing, and reality is a becoming, not a being.

878 Reply to “Cinema 1: The Movement-Image”

  1. Wow, this is the most creative exploration of film theory I have ever read It remains consistent with Gilles Deleuze s fundamental philosophical views Philosophy, for him, is a creative endeavor it is not a representational exercise nor is it a process of clarifying what we say in other fields, disciplines, etc Philosophy is the creation, exploration, putting to use of concepts, and that s what this book is Deleuze introduces a concept and explores it by way of film putting it to use by classif [...]


  2. This is a brilliant analysis of how the history of film impacted its form, its style and the technological advancements of it Deleuze argues that before WW II cinema can best be defined by looking at how directors attempted to capture movement and how that movement is related to time As a a result of these developments, Deleuze argues that cinema is the logical progression in the development of human thought philosophy so that cinema represents the ways in which the mind, body, and time constant [...]


  3. This book provides a wonderful alternative to viewing cinema and or cinema practices outside of the traditional psychoanalytic model His conception and theorization of time, light, and intensity of the image collapsing upon itself is truly a generative way of reading violence and structures of power through cinema Deleuze also talks about zombies, femme fatales and the subversive potential of sensation as a phenomenological event read through horror films This book is a must for any genre film a [...]


  4. Started reading this as part of thinking through my slowly evolving film project on Christine Jorgensen, but got bogged down, felt like I wasn t familiar enough with the Bergson that Deleuze relies on so heavily, so I ve put it down until I can wade through Matter and Memory and perhaps Creative Evolution Also broke down and got the Delueze Dictionary And I ve been ordering a lot of Hitchcock on Netflix to refreh my memory before tackling Cinema 2 .


  5. Deleuze s theory part one of the cinema A good read for those who want to think about how the cinema works as apparatus and how it helps us to theorize perception and to think about the image as an idea or concept.


  6. Deleuze s analysis of the construction of the movement image and its relation to the creation and perception of subjectivity This book gives a detailed structural analysis of film, its history and development Cinema I focuses on spatial subjectivity and the construction of the hero Excellent.








  7. taxonomy 1 2 time 3 1896 20 1953 ordet 1955 signs signature auteurs 4 5 developmental 6 descent filial 7 1962 sharghdaily Modules News Pr


  8. TABLE OF CONTENTSContents Preface to the English editionTranslators introductionPreface to the French editionChapter 1 Theses on movement First commentary on Bergson1 First thesis movement and instant2 Second thesis privileged instants and any instant whatevers3 Third thesis movement and change the whole, the Open or duration the three levels the set and its parts movement the whole and its changesChapter 2 Frame and shot, framing and cutting1 The first level frame, set or closed system the fun [...]


  9. Un libro muy interesante desde una perspectiva netamente deleuziana Esto implica conjugar y condensar los conceptos bergsonianos de movimiento y unirlos con toda la l gica conceptual infinitesimal de Leibniz.Deleuze en esta etapa ya conoce su propia teor a y puede, incluso, jugar un poco con ella Es as que vemos retomar aspectos de su lectura de Kant, de Foucault e incluso incorporar nociones y aspectos de la famosa revista Cahiers du Cin ma.


  10. A theory of the movement image, a work that is very much of the time when films, movies, the theater, was still referred to as the cinema What is very sad about reading this book, is that this reads as an antiquated book, a text on an art that has passed it halcyon days I would still recommend this to any student of critical theory Deleuze s discussion of filmmakers and their work is thrilling in and of itself.


  11. Essential cinema books just be aware it s Deleuze so it s going to take time to sink in and to really hook with you I read both of these books cover to cover years ago and honestly not much has stuck with me but when I was fully invested in that world and writing my dissertation these were fascinating rubik s cube like puzzles to fall into and get lost in Some very very unusual ways of looking at cinema that are often incredibly inspiring.


  12. Se sabe que Deleuze y Foucault mantuvieron una amistad accidentada Eso explicar a el hecho de que, a pesar de poseer visiones distintas, ambos se sumergieran profundamente en el an lisis del estado de cosas de su tiempo La pregunta de partida de ambos autores en sus textos nunca fue qu est pasando aqu , sino cu l fue el proceso que las diversas relaciones entre las cosas atravesaron para que lo que est pasando aqu , pase.A partir de esta premisa, Deleuze pone dos objetivos importantes para su ob [...]


  13. Some of his ideas and his writing in general is very beautiful and his analyses of films and film movements is extremely innovative and intriguing much philosophical than any other book one might find about film but also accurate Nevertheless it is quite a hard book to follow.


  14. In this book Deleuze bringing philosophy of Bergson and Peirce tries to elaborate a conceptual framework to understand the peculiar nature of cinematographic imagination through movement image.It starts with Soviet usage of cinematography through the works of Pudovkin, Eisenstein and Vertov and their efforts to reflect the dialectics in terms of different monatage techniques A special emphasis is put on Griffith and depending on this emphasis contrast with later successors is suggested.In his ch [...]


  15. Uno de los libros fundamentales de la teor a el cine Gilles Deleuze aplica su lectura sobre Bergson al desarrollo de las formas e hacer y de ver el cine En parte las tesis de Bergson son discutibles y han sido criticadas por muchos pensadores Por otra, el texto intenta asimilar categor as de im genes que se supone que responden a procesos no s lo perceptivos, sino din micos de la realidad, a escuela s concretas del cine, creando una especie de progresi n en ste Con lo cual, y alimentado m s de u [...]


  16. Very profound book on the philosophy of film My review can t do it justice it discusses how film has a huge impact on our life and importanly our conceptions Anyone who loves films a lot must read this book to realize that the films they love are really crap and that the movies they truly will love are ones they can t ever predict they will Very very good can t wait to read the second book


  17. Deleuze wrote two volumes on the cinema 1 2.Cinema 1 is essential reading I really like the first chapter, his theses on movement Of course, Deleuze relates everything toHenri Bergson So, you ll need to be familiar withMatter and Memory andCreative Evolution.


  18. I really dont believe that Cinema is an art, How can we accept it while politicians, leaders, industrial company owners and are using it for convinve people for following them no cinema never has been art expect in 1960s and 1970s decades in Europe, just in Europe.


  19. Not the best book of film criticism theory I ve read, but certainly interesting The affection image in particular is something that will undoubtedly affect how I watch and enjoy cinema.




  20. I will not finish this book any time soon, but it is incredibly interesting la philosophie de film, au lieu de th orie i ll start with the second part someday too



  21. really only makes sense when paralleled to the classic concept of image, movement and whole Very difficult writing about cinema as philosophy.


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