Continent. journal, No. 1-7 (2011-2012)

Continent. maps a topology of unstable confluences and ranges across new thinking, traversing interstices and alternate directions in culture, theory, politics and art.

Continent. exists as a platform for thinking through media. text, image, video, sound and new forms of publishing online are presented as reflections on and challenges to contemporary conditions in politics, media studies, art, film and philosophical thought.

Contributors to issue 2.3: François Laruelle, Andy Weir, Henrik Lübker, Berit Soli-Holt & April Vannini & Jeremy Fernando, Andrea Fraser, Sean Gurd, Paul Amitai, Sasha Ross, Thierry Geoffroy.

Contributors to issue 2.2: Vilém Flusser, Bonnie Jones, Eugene Thacker, Gary J. Shipley and Nicola Masciandaro, Vincent W.J. van Gerven Oei, Sean Joseph Patrick Carney, The Editors of Speculations & continent., Ishac Bertran, Duane Rousselle, A. Staley Groves.

Editors: Jamie Allen, Paul Boshears, Nico Jenkins
Creative Commons Attribution 3.0 License
ISSN 2159-9920

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Gilles Deleuze: Cinema 2: The Time-Image (1985–) [FR, ES, EN, RU]

Cinema 2: The Time-Image brings to completion Gilles Deleuze’s work on the theoretical implications of the cinematographic image. In Cinema 1: The Movement-Image, Deleuze proposed a new way to understand narrative cinema, based on Henri Bergson’s notion of the movement-image and C. S. Peirce’s classification of images and signs. In Cinema 2, he explains why, since World War II, time has come to dominate film: the fragment or solitary image, in supplanting narrative cinema’s rational development of events, illustrates this new significance of time.

Deleuze ascribes this shift 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.” Deleuze discusses the films of Rossellini, De Sica, Fellini, Godard, Resnais, Antonioni, Pasolini, Rohmer, Ophuls, and many others, suggesting that contemporary cinema, far from being dead, is only beginning to find new ways to capture time in the image.

Publisher Minuit, Paris, 1985
379 pages

English edition
Translated by Hugh Tomlinson and Robert Galeta
Publisher University of Minnesota Press, 1989
ISBN 0816616779, 9780816616770
364 pages

Publisher (EN)

Cinéma 2. L’Image-temps (French, 1985; added 2015-7-17)
Estudios sobre cine 2: La imagen-tiempo (Spanish, trans. Irene Agoff, 1987)
Cinema 2: The Time-Image (English, trans. Hugh Tomlinson and Robert Galeta, 1989)
Кино: Образ-движение (Russian, trans. Олег Аронсон, 2004, updated on 2013-9-26)

See also Volume 1

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