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Movement and Time in Cinema

Discernements: Deleuzian Aesthetics, pp. 1-21, J. Bloois, ed., Rodopi, 2004

24 Pages Posted: 29 Sep 2012  

Thomas Poell

University of Amsterdam (UvA)

Date Written: 2004

Abstract

This chapter explores how, according to Deleuze, this emancipation of time from movement took place in cinema. It starts with a discussion of Deleuze’s interpretation of the work of the early twentieth century French philosopher Henri Bergson, which spurred him to turn to cinema in the first place. From Bergson, Deleuze has borrowed the idea of time as an internal flow of thoughts and experiences. The papers shows how Deleuze uses Bergson’s ideas to think about the relationship between time and movement in cinema. The second and third part of the chapter turns to Deleuze’s actual confrontation with cinema. The basis of the discussion are the two books on cinema, The Movement-Image (1986) and The Time-Image (1989), which conclude Deleuze’s thinking on the relationship between time and movement; an issue, which he has addressed throughout his philosophical career.

Keywords: Deleuze, Bergson, Cinema, Philosophy of Space, Philosophy of Time

Suggested Citation

Poell, Thomas, Movement and Time in Cinema (2004). Discernements: Deleuzian Aesthetics, pp. 1-21, J. Bloois, ed., Rodopi, 2004. Available at SSRN: https://ssrn.com/abstract=2154302

Thomas Poell (Contact Author)

University of Amsterdam (UvA) ( email )

Spui 21
Amsterdam, 1018 WB
Netherlands

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