Gilles Deleuze: Cinema 2: The Time-Image (1985–) [FR, ES, EN, RU]
Filed under book | Tags: · cinema, film, film theory, image, montage, perception, philosophy, time
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
Comment (0)Gilles Deleuze: Cinema 1: The Movement-Image (1983–) [FR, ES, EN, RU]
Filed under book | Tags: · cinema, film, film theory, image, montage, movement, perception, philosophy
“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
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
Comment (0)Felicity Colman: Deleuze and Cinema: The Film Concepts (2011)
Filed under book | Tags: · cinema, film, film theory, image, montage, movement, perception, philosophy, semiotics, time
“Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze’s writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes.
Deleuze and Cinema presents a step-by-step guide to the key concepts behind Deleuze’s revolutionary theory of the cinema. Exploring ideas through key directors and genres, Deleuze’s method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema.
Deleuze and Cinema provides the first introductory guide to Deleuze’s radical methodology for screen analysis. It will be invaluable for students and teachers of Film, Media and Philosophy.”
Publisher Berg, 2011
ISBN 1847887708, 9781847887702
288 pages
Reviews: Kam Chui Ping (Film-Philosophy 2012), Dorothea Olkowski (Cultural Sociology 2012).
PDF
Academia.edu (from author, added on 2015-10-20)