Discernements: Deleuzian Aesthetics, pp. 1-21, J. Bloois, ed., Rodopi, 2004
24 Pages Posted: 29 Sep 2012
Date Written: 2004
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: 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