By Claire Colebrook
This ebook not just introduces Deleuze's rules, it additionally demonstrates the ways that his paintings provides new readings of literary texts.
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Extra info for Gilles Deleuze (Routledge Critical Thinkers)
In cinema the eye is disengaged from uniﬁed action, presented with images that prompt affective rather than cognitive responses. For Deleuze this has political ramiﬁcations, for it helps to explain how we as bodies – respond and desire forms (such as Fascism) even when they would not be in our interest. We submit to repressive regimes, Deleuze argues, not because we are mistaken but because we desire certain affects. Think, for example, of the sensible intensities of political rallies: the anthems, the rhythm of speeches and marches, and the use of colour.
Becoming is not just the unfolding of what something is. A thing (such as the human) can transform its whole way of becoming through an encounter with what it is not, in this case the camera. But this can only be so if we encounter the camera of cinema, not as something we already know, but as something that challenges us. AFFECT AND DISORGANISED PERCEPTION Crucially, Deleuze’s books on cinema unfold his philosophy of time. This is more than just a ‘philosophy’; for it is only if we rethink time, Deleuze argued, that we will be able to transform ourselves and our future.
A cinema of singularities would present colours, movements, sounds, textures, tones and lights that are not connected and organised CINEMA 33 34 KEY IDEAS into recognised and ordered wholes. In so doing it would take us back from the ordered world we view at a day-to-day level and allow us to think the singular and speciﬁc differences from which life is lived: Singularities are the true transcendental events. . Far from being individual or personal, singularities preside over the genesis of individuals and persons; they are distinguished in a ‘potential’ which admits neither Self nor I, but which produces them by actualizing or realizing itself.