Gilles Deleuze: Cinema 1: The Movement-Image (1983–) [FR, ES, EN, RU]

“First published in France in 1983, this is at once a revolutionary work in philosophy and a book about cinema. For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.

Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.

Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.”

Publisher Minuit, Paris, 1983
298 pages
English edition
Translated by Hugh Tomlinson and Barbara Habberjam
Publisher University of Minnesota Press, 1986
ISBN 0816613990, 0816614008
264 pages

Wikipedia (EN)
Publisher (EN)

Cinéma 1. L’Image-Mouvement (French, 1983; added 2015-7-17)
Estudios sobre cine 1: La imagen-movimiento (Spanish, trans. Irene Agoff, 1984)
Cinema 1: The Movement-Image (English, trans. Hugh Tomlinson and Barbara Habberjam, 1986)
Кино: Образ-движение (Russian, trans. Олег Аронсон, 2004, updated on 2013-9-26)

See also Volume 2

Godard on Godard: Critical Writings by Jean-Luc Godard (1968/1986)

Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself—his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950–1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard’s career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

Unabridged republication of the edition published in New York and London in 1972, originally published in French by Editions Belfond, 1968
Translated by Tom Milne
Edited by Jean Narboni and Tom Milne
New foreword by Annette Michelson
With an introduction by Richard Roud
Published by Da Capo Press, New York, 1986
ISBN 0306802597, 9780306802591
302 pages

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David Norman Rodowick (ed.): Afterimages of Gilles Deleuze’s Film Philosophy (2010)

A critical debate on the importance—and usefulness—of Deleuze’s film theory

The first new collection of critical studies on Deleuze’s cinema writings in nearly a decade, Afterimages of Gilles Deleuze’s Film Philosophy provides original essays that evaluate the continuing significance of Deleuze’s film theories, accounting systematically for the ways in which they have influenced the investigation of contemporary visual culture and offering new directions for research.

Contributors: Raymond Bellour, Centre Nationale de Recherches Scientifiques; Ronald Bogue, U of Georgia; Giuliana Bruno, Harvard U; Ian Buchanan, Cardiff U; James K. Chandler, U of Chicago; Tom Conley, Harvard U; Amy Herzog, CUNY; András Bálint Kovács, Eötvös Loránd U; Patricia MacCormack, Anglia Ruskin U; Timothy Murray, Cornell U; Dorothea Olkowski, U of Colorado; John Rajchman, Columbia U; Marie-Claire Ropars-Wuilleumier, U Paris VIII; Garrett Stewart, U of Iowa; Damian Sutton, Glasgow School of Art; Melinda Szaloky, UC Santa Barbara

Publisher University of Minnesota Press, 2010
ISBN 0816650063, 9780816650064
396 pages

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