- ISBN 048512081X
- ISBN13 978-0485120813
- Author Gilles Deleuze
- Publisher Univ of Minnesota Press (1986)
- Formats lit docx mbr mobi
- Category Humour
- Size ePub 1519 kb
- Size Fb2 1124 kb
- Rating: 4.1
- Votes: 745
Cinema 1: The Movement Image (French: Cinéma 1. L'image-mouvement) (1983) is the first of two books on cinema by the philosopher Gilles Deleuze, the second being Cinema 2: The Time Image.
Cinema 1: The Movement Image (French: Cinéma 1. L'image-mouvement) (1983) is the first of two books on cinema by the philosopher Gilles Deleuze, the second being Cinema 2: The Time Image (French: Cinéma 2. L'image-temps) (1985). Together Cinema 1 and Cinema 2 have become known as the Cinema books, the two volumes both complementary and interdependent
Cinema 1: The Movement-Image.
Cinema 1: The Movement-Image. In his 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.
Deleuze ascribes this shot to the condition of postwar Europe: the situations and spaces 'we no longer know how to describe'- buildings deserted but inhabited, cities undergoing demolition or reconstruction-and the new race of characters who emerged from this rubble, mutants who 'saw rather than acted. Series: Cinema (Book 2).
The movement-image and time-image now seem incomplete without Davis's addendum. -Critical Quarterly. The Desiring-Image is high concept: it adds a third term to 'movement-image' and 'time-image,' extending Deleuze's inquiry into present-day world cinema and making his pair of cinema books a trilogy. It is also high theory. At its best, Nick Davis' The Desiring-Image thinks through Deleuze to explode our conception of the queer cinema canon, to challenge our understanding of homoeroticism, and to consider the ways queer cinema imagined itself in retrospect. This is an exhaustive yet lovingly written perverse intervention into film theory.
Gilles Deleuze (1925-1995) was Professor of Philosophy at the University of Paris VIII. Cinema I is a revolutionary work in the theory of cinema and begins Deleuze's major reassessment of film, concluded in Cinema II. He is one of the key figures in poststructuralism, and one of the most influential philosophers of the twentieth century. In it, Deleuze identifies three distinct principal types of 'image movement' and draws upon diverse examples from the work of such major filmmakers as Griffith, Eisenstein, Cassavetes and Altman.
Gilles Deleuze was one of the most influential figures in twentieth-century philosophy, well known for his works on. .
Gilles Deleuze was one of the most influential figures in twentieth-century philosophy, well known for his works on the philosophy of art and for his master-works, Difference and Repetition and - with Felix Guattari - A Thousand Plateaus and Anti-Oedipus. Drawing on the philosophy of Henri Bergson, Deleuze identified his work as a logic of the cinema, setting out to isolate certain cinematographic concepts philosophically.
Cinema 1 : The Movement Image. Gilles Deleuze (1925-1995) was Professor of Philosophy at the University of Paris VIII
Cinema 1 : The Movement Image. By (author) Gilles Deleuze. Gilles Deleuze (1925-1995) was Professor of Philosophy at the University of Paris VIII. L'Image-Mouvement) is a 1983 book by the philosopher Gilles Deleuze, in which the author combines philosophy with film criticism. However, it can never be completely closed, because of the way it can define the "out-of-the-frame". This is particularly apparent in the films of Michelangelo Antonioni. Deleuze defines the shot (which is dependent on the position and movement of the camera) as the movement-image (p22). The mobile camera acts as a general equivalent to forms of locomotion, for instance walking, planes, cars (p22).