scholarly journals Uma praia, uma pausa ou Da descrição no cinema de Abbas Kiarostami

E-Compós ◽  
2020 ◽  
Vol 23 ◽  
Author(s):  
Lennon Macedo ◽  
Alexandre Rocha da Silva
Keyword(s):  
Gilles Deleuze ◽  
Christian Metz

O artigo versa sobre quatro filmes de Abbas Kiarostami no que compete à relação entre descrição e narração cinematográfica. Com o aporte da semiologia de Christian Metz e a crítica pós-estruturalista de Gilles Deleuze, identificamos algumas dinâmicas de significação que correm entre os procedimentos descritivos e narrativos. Pelo lado da semiologia, há uma profunda relação entre a pesquisa do cinema e a pesquisa da narrativa, relegando à descrição um papel menor. Pelo lado da taxonomia deleuzeana, narração e descrição coexistem de acordo com o funcionamento de cada regime de imagem. Em nossos esboços analíticos, o cinema de Kiarostami produz variações no interior de ambos os feixes teóricos.

Language, Semiotics, and Deleuze

2018 ◽  
Author(s):  
James Buhler
Keyword(s):  
Gilles Deleuze ◽  
Academic Field ◽  
General Overview ◽  
Christian Metz ◽  
Film Language

Chapter 4 opens with the issue of the “film language” and examines how the concept served to ground film semiotics. Both film and music have been called universal languages, and this languagelike quality meant that both areas were inviting objects to the emerging academic field of semiotics. After a general overview of “film language,” this chapter considers the contributions of Jean Mitry and Christian Metz to the field of film semiotics and what film semiotics contributes to the theory of the soundtrack. The chapter closes with a discussion of Gilles Deleuze, whose philosophy of cinema draws extensively from the semiotic tradition of Charles S. Peirce. Deleuze himself offers mostly cryptic comments about the soundtrack, and this chapter uses the typology Deleuze developed for the movement-image and seeks analogues in the treatment of the soundtrack.

scholarly journals Das Ich des Autors. Autobiografisches in Filmen der Nouvelle Vague

2011 ◽  
Author(s):  
Pascale Anja Dannenberg
Keyword(s):  
Jacques Lacan ◽  
Gilles Deleuze ◽  
Andre Bazin ◽  
Theorie Und Praxis ◽  
Christian Metz

Die vorliegende Studie spannt einen Bogen von Theorie und Praxis traditioneller wie moderner literarischer Autobiografien von Goethe, Rousseau bis zu den nouveaux romanciers über Theorien aus Psychologie (Jacques Lacan) und Film (André Bazin, Christian Metz, Gilles Deleuze), um diese Theoreme schließlich auf die Nouvelle Vague anzuwenden. Die Fallstudien untersuchen die unterschiedlichen auto(r-)biografischen Konzepte und Formen der ersten Arbeiten von Truffaut, Godard und Rohmer.

Nadine Boljkovac (2013)Untimely Affects: Gilles Deleuze and an Ethics of Cinema, Edinburgh: Edinburgh University Press

2015 ◽  
Vol 9 (2) ◽  
pp. 264-272
Author(s):  
Colin Gardner
Keyword(s):  
Gilles Deleuze

The Death of Gilles Deleuze as Composition of a Concept

2017 ◽  
Vol 11 (1) ◽  
pp. 121-138
Author(s):  
Alain Beaulieu ◽  
Douglas Ord
Keyword(s):  
Gilles Deleuze ◽  
Wide Range ◽  
In Memoriam ◽  
Looking Glass

There was a wide range of in memoriam and homages published in the years following Deleuze's suicide. However, none of them succeeded in grasping ‘the evential’ aspect of his death. This paper identifies a series of errors in the literature on Deleuze's death. It also suggests a way to overcome them by considering a singular encounter between Alice's passage through the looking glass and Deleuze's defenestration, which both took place on 4 November. We will show how a new conception of death as event comes out of this unseen connection.

Friedrich Nietzsche

2018 ◽  
Author(s):  
Vanessa Lemm
Keyword(s):  
Friedrich Nietzsche ◽  
Michel Foucault ◽  
Gilles Deleuze ◽  
Georges Bataille ◽  
Giorgio Agamben ◽  
Eternal Recurrence ◽  
German Philosopher ◽  
Point Of Reference

Readers of Giorgio Agamben would agree that the German philosopher Friedrich Nietzsche (1844–1900) is not one of his primary interlocutors. As such, Agamben’s engagement with Nietzsche is different from the French reception of Nietzsche’s philosophy in Michel Foucault, Gilles Deleuze and Georges Bataille, as well as in his contemporary Italian colleague Roberto Esposito, for whom Nietzsche’s philosophy is a key point of reference in their thinking of politics beyond sovereignty. Agamben’s stance towards the thought of Nietzsche may seem ambiguous to some readers, in particular with regard to his shifting position on Nietzsche’s much-debated vision of the eternal recurrence of the same.

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Simone de Beauvoir's Philosophy of Individuation

2017 ◽  
Author(s):  
Laura Hengehold
Keyword(s):  
Lived Experience ◽  
20Th Century ◽  
Sexual Difference ◽  
Gilles Deleuze ◽  
The Other ◽  
Simone De Beauvoir ◽  
Second Sex ◽  
Other Hand ◽  
The World

Most studies of Simone de Beauvoir situate her with respect to Hegel and the tradition of 20th-century phenomenology begun by Husserl, Heidegger, and Merleau-Ponty. This book analyzes The Second Sex in light of the concepts of becoming, problematization, and the Other found in Gilles Deleuze. Reading Beauvoir through a Deleuzian lens allows more emphasis to be placed on Beauvoir's early interest in Bergson and Leibniz, and on the individuation of consciousness, a puzzle of continuing interest to both phenomenologists and Deleuzians. By engaging with the philosophical issues in her novels and student diaries, this book rethinks Beauvoir’s focus on recognition in The Second Sex in terms of women’s struggle to individuate themselves despite sexist forms of representation. It shows how specific forms of women’s “lived experience” can be understood as the result of habits conforming to and resisting this sexist “sense.” Later feminists put forward important criticisms regarding Beauvoir’s claims not to be a philosopher, as well as the value of sexual difference and the supposedly Eurocentric universalism of her thought. Deleuzians, on the other hand, might well object to her ideas about recognition. This book attempts to address those criticisms, while challenging the historicist assumptions behind many efforts to establish Beauvoir’s significance as a philosopher and feminist thinker. As a result, readers can establish a productive relationship between Beauvoir’s “problems” and those of women around the world who read her work under very different circumstances.

Hannibal aux aguets: On the Lookout for New Rencontres

2018 ◽  
Author(s):  
Charles J. Stivale
Keyword(s):  
Gilles Deleuze ◽  
Television Series ◽  
Commercial Television ◽  
Thomas Harris ◽  
Highly Skilled ◽  
Video Interview

In L’Abécédaire de Gilles Deleuze, a 1988-9 video interview, Deleuze discusses with Claire Parnet the crucial link between creativity, the very possibility of thinking, and animality, through the practice of “être aux aguets” (being on the lookout) for rencontres. This chapter considers how this constitutes the essential practice of the character of Hannibal Lecter, created by Thomas Harris in several novels (Red Dragon, Silence of the Lambs, Hannibal, Hannibal Rising) and, more recently, portrayed in the commercial television series “Hannibal” by Mads Mikkelsen. Hannibal is portrayed as a highly refined individual who not only can sense physically the presence of any threat through extraordinary olfactory powers, but can also categorize, store and then recall any such scents/essences through a Memory Museum. In the television series, Hannibal as highly skilled culinary artist combines the results of his being “on the lookout” with an efficient and often gruesome taste for fine dining, with strategically selected guests usually uninformed about the courses on the menu. The chapter thus considers the concepts of the animal, “être aux aguets” and “refrains” in the light of fictional production, both in print and televisual form, in order to open the Deleuzian concepts to an alternate, creative reading.

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