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Download Cinema 1: The Movement-Image ePub

by Gilles Deleuze

Download Cinema 1: The Movement-Image ePub
  • 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).

Talk about Cinema 1: The Movement-Image

This is an interesting read but complex. A background in Marxian and Hegelian Philosophy, especially in dialectics and dialectical materialism definitely helps the perceiving eye. Lacking are much needed pictures or sequences describing the various movie scenes, shots and snippets within various mentioned films. You have to be quite the movie buff or enthused to gather together an idea of what is taking place or being shown in the examples stated throughout the work and used to help clarify the concept at hand. Being I am not a movie person but more the book person, I struggled in gaining much from the examples. Since, Deleuze is the advocate of Virtual Reality, something for the Kindle including actual shots and scenes from the movies used as examples for the concepts may be a good and important revision/new-edition.
Gilles Delueze creates in his books on cinema a taxonomy, an attempt at the
classification of cinematic images and signs. This classification is an insightful
elaboration on Bergson's theses on movement and on Pierce's signs system. If
this taxonomy is the core of the "movement-image" book, its heart is a brilliant
and systematic history of aesthetic forms of the classical cinema. Some of the more
interesting ideas are the two poles of the close-up, Goethe's theory of color and German
expressionism, the space in Bresson, an account of Bunuel as naturalist, the difference
between John Ford and Howard Hawks, the crisis of the action-image and the essence
of comedy as in Lubitsch, Chaplin and Keaton. Nevertheless, it is not a book about
cinema, nor is it a book of film history. It is the practice of concepts. Deleuze writes:
"Philosophical theory is itself a practice, just as much as its object. It is no more abstract
than its object...So that there is always a time, midday-midnight, when we must no
longer ask ourselves 'What is cinema?' but 'What is philosophy?'". Only Deleuze, one
of the greatest minds of our Century, could answer this question with so much elegance,
profundity, ingenuity and mystical charm.
one life
The above review of this book does a great job already, so I will try to complement it as best I can. Deleuze is a difficult thinker for newcomers. His ideas tend to refer to one another and have developed into a complex network of concepts over the course of his writings. The good news is that Deleuze is drawing an immense amount of interest in the US and UK now.
Deleuze sets out in the cinema books to create a theory of film and the image that stands in sharp contrast to the film theory we're most accustomed to. Deleuze does not accept that narrativity is a given in film. In fact, he wants to find a way of appreciating and describing what distinguishes film from language and narrative systems. For Deleuze, the moving image is not a system of reference. One doesn't refer to something through a segment of film. The filmic medium is direct, not referential.
Cinema 1 is thus a look at how the early cinema learned to produce the "movement image." It's a review of "auteur" film-makers and their experiments with the medium (in addition to those mentioned above are Welles, Godard, Eisenstein, Lang, Resnais, Hitchock...) to produce perception, affect, and action.
He contrasts montage with mise-en-scene. He shows how action corresponds to situations, either responding to situations or modifying them. He describes the discovery of depth of field, and use of affect in close ups and still images, the importance of shot and reverse shot sequences, and movement within the scene vs of the camera. He shows how pre-war film maintained a commitment to the whole. Characters' actions were motivated by situations, and films as a whole hung together.
The book concludes with Hitchcock's invention of the audience as a third term in the filmic experience: subject, object, audience. Audiences complete Peirce's sign system (firstness, secondness, thirdness) because they interpret the film. Indeed, Hitchcock's art was in showing the audience what the character would only discover later, and in making his films into logical puzzles rather than whodunits.
A dazzling book, I had to read it twice, and many of the films referenced won't be on dvd for years....
Our Hero Deleuze is back at it once again on his Bergsonian quest to conquer the movement-image.This time descending light from the plane of immanence will guide our hero through phenomenological blunders. Wow! what an amazing book! Deleuze has done it again, I mean talk about the varities! Perception-Image, Affect Image and Action Image. It totally clairfies any misconsceptions about the liquid, gasous and solid states. If there is such thing as a rhizomatic world, could the Time-Image be a prequel? Deleuze is smoking!!!!
Utter pretentious pseudo-philosophic crap. Films students without a doubt will be forced to read this at some point, just plow through it and you'll be done in no time.