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The Matrix of Visual Culture
This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
Deleuzian Aesthetics
A bilingual collection of essays on the aesthetics of Gilles Deleuze, Discern(e)ments highlights what is at stake in Deleuzian philosophy of art. It traces the reception of Deleuzian thought in a broad range of disciplines and gauges its use-value in each of them. Following the dynamics between structure and becoming that punctuates Deleuzian aesthetics, Discern(e)ments sketches and erases boundaries between methods and traditions in philosophy and art theory, as well as in literary, performance and film studies. Offering both numerous case-studies as well as theoretical outlines, Discern(e)ments engages faculties, disciplines and criticisms not in a mere exchange of points of view, but in heterogenesis mapping out further discernments in Deleuzian aesthetics.
Borderlands Media
Borderlands Media: Cinema and Literature as Opposition to the Oppression of Immigrants, by David E. Toohey, explores the ways in which immigrants, diaspora communities, and their allies use alternative media to reject oppression. This in-depth analysis of the immigrant experience makes use of a mixture of cinema, literary, and other artistic media from 1958 onward, combined with supporting social science and policy documents. Borderlands Media is an essential text for scholars and students engaged in questions of media's effect on the oppression of immigrants and diaspora communities.
Postwar Amateur Film Practices in a Transnational Perspective
Amateur film and amateur media practices have attracted increasing interest in recent decades in the context of the "visual turn". Questions of agency, participatory and political/militant film practices, and of representations of "self" and "other" are of interest as well as the institutions and networks of amateur productions. This special issue of "zeitgeschichte" contributes to this field of research by examining international and transnational developments of amateur films in the period after the Second World War. The collected contributions analyze national specifics and regional shapings of practices as well as cultural constructions in amateur film and video, they trace transnational entanglements of amateur media and tackle cross-border amateur filmmaking and internationally and globally shared discursive references and uses of metaphors in video activism. The authors elaborate parallels to organizational structures in amateur film practices in specific sociopolitical and cultural contexts and discuss aspects of memory and the appropriation of hegemonic visual cultures in individual film practices.
Qualitative Inquiry at a Crossroads
Qualitative Inquiry at a Crossroads critically reflects on the ever-changing dynamics of qualitative research in the contemporary moment. We live at a crossroads in which the spaces for critical civic discourse are narrowing, in which traditional political ideologies are now questioned: there is no utopian vision on the horizon, only fear and doubt. The moral and ethical foundations of democracy are under assault, global inequality is on the rise, facts are derided as ‘fake news’—an uncertain future stands at our door. Premised on the belief that our troubled times call for a critical inquiry that matters—a discourse committed to a politics of resistance, a politics of possibility—...
The Force of the Virtual
Gilles Deleuze once claimed that ‘modern science has not found its metaphysics, the metaphysics it needs.’ The Force of the Virtual responds to this need by investigating the consequences of the philosopher’s interest in (and appeal to) ‘the exact sciences.’ In exploring the problematic relationship between the philosophy of Deleuze and science, the original essays gathered here examine how science functions in respect to Deleuze’s concepts of time and space, how science accounts for processes of qualitative change, how science actively participates in the production of subjectivity, and how Deleuze’s thinking engages neuroscience. All of the essays work through Deleuze’s und...
Black Screens, White Frames
Black Screens, White Frames offers a new understanding of blank screens in cinema. Drawing on Gilles Deleuze's film philosophy and pursuing an affirmative approach to non-images through the concept of the filmmaking machine, author Tanya Shilina-Conte shows how absence can be a productive mode that alters the way we study film.
Cluttered Universes of Samuel Beckett and Tadeusz Kantor
Cluttered Universes of Samuel Beckett and Tadeusz Kantor is a collection of four essays bringing Kantor’s and Beckett’s texts, theatres, and theories into conversation with deconstruction, new materialism, environmental humanities, and posthumanism. This book is dedicated to two artists rarely discussed together to see how their awareness of poetics and performativity of matter might help us understand our connection to the material world, even if the world is falling apart. Jane Bennett, Karen Barad, Rosi Braidotti, Donna Haraway, Timothy Morton, and others pave the way for new critical interpretations of canonical works, which are recognised as universes “cluttered” with matter, objects, things, and other nonhuman visitors of seemingly exclusive human domains. Kisiel shows that Beckett’s and Kantor’s carefulness and care for imagining nonhuman/human relationships might refresh our understanding of memory, togetherness, death, or even the end of the world for the Anthropocene.
New Blood in Contemporary Cinema
Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadzihalilovic and Ana Lily Amirpour, who put 'a poetics of horror' to new use in their work, expanding the range of gendered and racialised perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre.
Filming for the Future
Verhandelingen over het werk van de Nederlandse filmmaker (1922- ).
