標(biāo)題: Titlebook: Gilles Deleuze and Film Criticism; Philosophy, Theory, Dominic Lash,Hoi Lun Law Book 2023 The Editor(s) (if applicable) and The Author(s), [打印本頁] 作者: GLOAT 時(shí)間: 2025-3-21 17:44
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書目名稱Gilles Deleuze and Film Criticism網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Gilles Deleuze and Film Criticism被引頻次
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書目名稱Gilles Deleuze and Film Criticism讀者反饋
書目名稱Gilles Deleuze and Film Criticism讀者反饋學(xué)科排名
作者: 語源學(xué) 時(shí)間: 2025-3-21 21:15 作者: monopoly 時(shí)間: 2025-3-22 01:31
https://doi.org/10.1007/978-3-7091-3771-0omplicates the assumption that Deleuze devalues onscreen movement, revealing a surprising link between the perceptual plenitude of movement on screen and Deleuze’s philosophical interest in particularity.作者: 平常 時(shí)間: 2025-3-22 05:11
2946-5435 i, and Orson Welles. This book will be of interest not only to specialists in Deleuze but to anybody engaged with the close study of film and its philosophical ramifications..978-3-031-33307-1978-3-031-33305-7Series ISSN 2946-5435 Series E-ISSN 2946-5443 作者: 誰在削木頭 時(shí)間: 2025-3-22 11:43 作者: 慷慨不好 時(shí)間: 2025-3-22 16:52
Book 2023her Gilles Deleuze’s work on cinema. In the last two decades, Deleuze‘s two books on film have had an enormous influence on Film Studies, profoundly affecting thinking about movement, time, history, and other topics. Theoretically ambitious and philosophically rich but clearly written by a broad ran作者: 慷慨不好 時(shí)間: 2025-3-22 17:25 作者: Engaged 時(shí)間: 2025-3-22 21:35 作者: Ossification 時(shí)間: 2025-3-23 01:34
Fensterfunktionen und lokale Operatoren, unique cinematographic ideas invented by filmmakers. This chapter explores what the concept of the cinematographic idea, central to Deleuze’s conception of the aesthetic possibilities of film, can tell us about his practice as a film critic and, by doing so, probes what his work can teach us about film criticism.作者: conjunctiva 時(shí)間: 2025-3-23 06:17
https://doi.org/10.1007/978-3-7091-3770-3hey see as (in different ways) the possibilities of cinema as engaged in modes of thought and thinking. Drawing out this affinity also places Deleuze within a contemporary cluster of trans-Atlantic critics who were exploring the ways that cinema carves out and creates modes of temporality.作者: 收養(yǎng) 時(shí)間: 2025-3-23 12:59 作者: 不能逃避 時(shí)間: 2025-3-23 15:09
https://doi.org/10.1007/978-3-642-90991-7n?.—is composed of multiple, intersecting layers. Finally, Deleuze claims that spectacle in Fellini’s films is not opposed to the real or true but is instead what the real is composed of. As Deleuze puts it, in Fellini ‘The spectacle becomes universal’.作者: miniature 時(shí)間: 2025-3-23 21:44
Hans-Jürgen Frank-Schmidt,Emil Heinz Grault Deleuze’s readings of . beautifully exemplify some of the philosopher’s central ideas both about film and about human agency, while also pointing towards some significant challenges that might be raised against them.作者: bleach 時(shí)間: 2025-3-24 00:33
What Does Deleuze Do When He Does Film Criticism? unique cinematographic ideas invented by filmmakers. This chapter explores what the concept of the cinematographic idea, central to Deleuze’s conception of the aesthetic possibilities of film, can tell us about his practice as a film critic and, by doing so, probes what his work can teach us about film criticism.作者: Volatile-Oils 時(shí)間: 2025-3-24 05:47
Gilles Deleuze and the Company of Critics: On Kubrick, Time, and Cinemahey see as (in different ways) the possibilities of cinema as engaged in modes of thought and thinking. Drawing out this affinity also places Deleuze within a contemporary cluster of trans-Atlantic critics who were exploring the ways that cinema carves out and creates modes of temporality.作者: geriatrician 時(shí)間: 2025-3-24 07:47
“Something Possible, Otherwise I Will Suffocate”: A Marginal Reading of Chapter 7, Section 2 of Deleus movements, tensions, and sparks of thought when faced with the unthinkability of belief in an age of post-traumatic nihilism. Facsimiles of the author’s coded marginalia in dialogue/conflict with Deleuze’s troubled text are the basis for analyses of films which Deleuze, it would appear, is compelled to leave in an embryonic state.作者: invert 時(shí)間: 2025-3-24 13:57 作者: SOW 時(shí)間: 2025-3-24 15:37
Hypnosis-Images: Indiscernibility and Hypnotic Agency in Gilles Deleuze’s t Deleuze’s readings of . beautifully exemplify some of the philosopher’s central ideas both about film and about human agency, while also pointing towards some significant challenges that might be raised against them.作者: anniversary 時(shí)間: 2025-3-24 22:47 作者: 有法律效應(yīng) 時(shí)間: 2025-3-25 02:16 作者: MAG 時(shí)間: 2025-3-25 04:56 作者: deactivate 時(shí)間: 2025-3-25 08:16 作者: Anemia 時(shí)間: 2025-3-25 13:56
Introduction,f individual films, considered more broadly. It then briefly contextualises the approach taken by this book within the relevant scholarship (although it is necessarily selective, given the huge extent of the literature), before briefly introducing the specific contents of the volume.作者: 你正派 時(shí)間: 2025-3-25 18:19 作者: 財(cái)政 時(shí)間: 2025-3-25 21:44
978-3-031-33307-1The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: 去才蔑視 時(shí)間: 2025-3-26 01:24
Gilles Deleuze and Film Criticism978-3-031-33305-7Series ISSN 2946-5435 Series E-ISSN 2946-5443 作者: 易改變 時(shí)間: 2025-3-26 04:52 作者: 鄙視讀作 時(shí)間: 2025-3-26 12:31 作者: 牽索 時(shí)間: 2025-3-26 15:30 作者: Banquet 時(shí)間: 2025-3-26 19:16
What Does Deleuze Do When He Does Film Criticism?you who do cinema? And what do I do exactly when I do or hope to do philosophy?” Both practices, Deleuze suggests, involve an act of creation. If philosophers invent concepts, filmmakers invent “cinematographic ideas” by means of “blocks of movement-duration”. As a philosopher who thinks seriously a作者: 打算 時(shí)間: 2025-3-26 23:20
Deleuze and the Film in His Mindmarks on Robert Bresson’s . (France, 1959). The chapter tests the terms and phrases that Deleuze uses to characterise the film. This testing highlights the stresses and strains in his articulations and specifications showing how they may significantly affect an understanding of text and film.作者: floodgate 時(shí)間: 2025-3-27 03:10
Gilles Deleuze and the Company of Critics: On Kubrick, Time, and Cinemaference to Annette Michelson, focusing on her writings on Soviet cinema, both writers devote significant attention to the work of Stanley Kubrick, especially . (1969), seeing in that film a model of mental activity and the relation between mind and body. I argue that their treatments of the film’s a作者: certitude 時(shí)間: 2025-3-27 08:27
“Very Slight Differences”: Deleuze and the Aesthetics of Cinematic Motionrgued that he devalues the specific movements of bodies and objects on screen. In order to investigate this tension between the philosophical and aesthetic dimensions of his stance on cinematic motion, the chapter examines what Deleuze calls “indices of equivocity” in the films of Harold Lloyd, Char作者: Inordinate 時(shí)間: 2025-3-27 11:09 作者: 配偶 時(shí)間: 2025-3-27 14:09
Banish All the World: Deleuze on rger embodied modern cinema’s capacity for expressing what Deleuze called the ‘powers of the false’. From Citizen Kane to Touch of Evil, Orson Welles evolved this figure to encapsulate the exhaustion, nihilism, and ultimately (self-)destructive drive of modern life. However, against this dominant im作者: ASSET 時(shí)間: 2025-3-27 18:31
Donen and Minnelli: An Exchange of Energiesanley Donen and Vincente Minnelli giving birth to and outlining a dream image.?In Donen, we find a world of “flat views” out of which dance emerges.?With Minnelli, on the other hand, the flat view is replaced by a “plurality of worlds” confronting and absorbing one another and in which we find a “br作者: 雜役 時(shí)間: 2025-3-28 01:02 作者: intuition 時(shí)間: 2025-3-28 04:09 作者: 調(diào)整校對(duì) 時(shí)間: 2025-3-28 09:39
https://doi.org/10.1007/978-3-642-91038-8f individual films, considered more broadly. It then briefly contextualises the approach taken by this book within the relevant scholarship (although it is necessarily selective, given the huge extent of the literature), before briefly introducing the specific contents of the volume.作者: 耐寒 時(shí)間: 2025-3-28 10:30 作者: 上坡 時(shí)間: 2025-3-28 15:44 作者: 破布 時(shí)間: 2025-3-28 21:14
https://doi.org/10.1007/978-3-7091-3770-3ference to Annette Michelson, focusing on her writings on Soviet cinema, both writers devote significant attention to the work of Stanley Kubrick, especially . (1969), seeing in that film a model of mental activity and the relation between mind and body. I argue that their treatments of the film’s a作者: 陳舊 時(shí)間: 2025-3-28 23:20 作者: irreparable 時(shí)間: 2025-3-29 07:03 作者: 制度 時(shí)間: 2025-3-29 10:12
https://doi.org/10.1007/978-3-642-92414-9rger embodied modern cinema’s capacity for expressing what Deleuze called the ‘powers of the false’. From Citizen Kane to Touch of Evil, Orson Welles evolved this figure to encapsulate the exhaustion, nihilism, and ultimately (self-)destructive drive of modern life. However, against this dominant im作者: 防銹 時(shí)間: 2025-3-29 12:40
Die praktischen Einheitsbetr?geanley Donen and Vincente Minnelli giving birth to and outlining a dream image.?In Donen, we find a world of “flat views” out of which dance emerges.?With Minnelli, on the other hand, the flat view is replaced by a “plurality of worlds” confronting and absorbing one another and in which we find a “br作者: Decline 時(shí)間: 2025-3-29 18:45
https://doi.org/10.1007/978-3-642-90991-7opacity. He argues that the film pursues this distinction, but only in order to then posit a general reversibility of these qualities, an indeterminacy or swapping between transparency and opacity that is central for the film’s aesthetic and narrative strategies. Deleuze details the play between tra
