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A severe debate at the importance—and usefulness—of Deleuze’s movie theory

The first new selection of severe experiences on Deleuze’s cinema writings in approximately a decade, Afterimages of Gilles Deleuze’s movie Philosophy presents unique essays that overview the ongoing importance of Deleuze’s movie theories, accounting systematically for the ways that they've got prompted the research of latest visible tradition and delivering new instructions for study.

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Image or Time? 29 Notes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 Gilles Deleuze, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986), 106. This term, borrowed in an analogical way from chaos theory (or the theory of dissipative systems), is meant to take into account the at once programmed and unforeseeable Deleuzian trajectory of Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989).

46. Maurice Blanchot, The Space of Literature, trans. Ann Smock (Lincoln: University of Nebraska Press, 1982), 24. Blanchot, Infinite Conversation, 46. Gilles Deleuze, Foucault, trans. Seán Hand (Minneapolis: University of Minnesota Press, 1988). Michel Foucault, Maurice Blanchot: The Thought from Outside, trans. Brian Massumi (New York: Zone Books, 1987). , 25. Ibid. , 10, 58. , 16. Maurice Blanchot, Michel Foucault as I Imagine Him, trans. Jeffrey Melman (New York: Zone Books, 1987), 74. , 55.

In this way, the projection toward the outside announced in the last chapters of The Time-Image could well guide obliquely Deleuze’s very conception of cinema. 3. I will emphasize the hypothesis that flows from this and that finds support in a third remark: issuing from the movement-image, the timeimage is traversed by the movement of a becoming that, in taking the name of “thought of the outside,” puts into play thought itself through an intrication that remains to be unraveled. “Thinking belongs to the outside”: this firm affirmation by Deleuze in Foucault 42 retroactively illuminates the genesis of a new stake in The Time-Image and, more broadly, in The Movement-Image and The Time-Image as a whole.

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