El pensamiento cinematográfico de Gilles Deleuze en dos films de David Lynch

2021 ◽  
Author(s):  
Marta Romero López
Keyword(s):  
DoisPontos ◽  
2011 ◽  
Vol 8 (2) ◽  
Author(s):  
Veronica Miranda Damasceno
Keyword(s):  

Este artigo visa introduzir a noção de dramatização em Gilles Deleuze. Trata-se da subversão das clássicas perguntas metafísicas que justificam as essências e as idéias. Uma distribuição de diferenças determina a atualização das idéias. O método de dramatização envolve processos de diferenciação. Diferenças internas, relativas a blocos de espaço-tempo criam condições para os conceitos. Um campo intensivo e diferencial de forças faz emergir um teatro especial de virtualidades e uma expressividade das idéias. A realidade não é dada, mas dramatizada por forças não individuais e subjetividades larvares. O método de dramatização está aquém do conhecimento e até mesmo de toda consolidação que a filosofia ganha com os conceitos. O artigo procurará ainda indicar os vínculos da dramatização com os mundos incompossíveis de Leibniz e com o cinema de David Lynch.


2015 ◽  
Vol 9 (16) ◽  
pp. 103-115
Author(s):  
Ulysses Pinheiro
Keyword(s):  

Este artigo compara dois filmes, Janela indiscreta, de Alfred Hitchcock, e Estrada perdida, de David Lynch, com o objetivo de mostrar que eles ilustram duas maneiras distintas de caracterizar o olhar inumano da percepção cinematográfica, tal como ele foi descrito por Gilles Deleuze. Essas duas maneiras distintas não foram discriminadas pelo próprio Deleuze, mas convergem em direção a sua crítica à hermenêutica.


Área Abierta ◽  
2021 ◽  
Vol 21 (1) ◽  
pp. 45-58
Author(s):  
Arnau Vilaró i Moncasí

Para Gilles Deleuze, el cine de Alfred Hitchcock culminaba el cine clásico (imagen-movimiento) al mismo tiempo que asentaba las bases de la modernidad (imagen-tiempo). ¿Qué ha ocurrido desde entonces? ¿En qué medida el vínculo sensoriomotor a partir del cual Deleuze fundamentaba ambos sistemas sigue siendo un mecanismo figurativo para el cine contemporáneo? El siguiente artículo considera que Mulholland Drive ha sustituido el canon estético que, en el cine moderno, fue representado por Vértigo. La hipótesis de este texto es que el film de David Lynch explora la imagen-cristal deleuziana desde lo que el mismo Deleuze, a partir de la pintura de Bacon, llamó una “lógica de la sensación”. El desbordamiento de los afectos, la autodestrucción, la pérdida de la identidad, el poder subversivo del deseo o la creencia en un mundo que ya no se conforma con la realidad, son algunos de los elementos que transforman la mirada, la acción y la realidad, ejes principales de la teoría del cine de Deleuze.


2017 ◽  
Vol 11 (1) ◽  
pp. 121-138
Author(s):  
Alain Beaulieu ◽  
Douglas Ord

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.


Author(s):  
Vanessa Lemm

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.


Author(s):  
Laura Hengehold

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.


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