Titlebook: Gilles Deleuze and Film Criticism; Philosophy, Theory, Dominic Lash,Hoi Lun Law Book 2023 The Editor(s) (if applicable) and The Author(s),

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破布

https://doi.org/10.1007/978-3-7091-3770-3ference to Annette Michelson, focusing on her writings on Soviet cinema, both writers devote significant attention to the work of Stanley Kubrick, especially . (1969), seeing in that film a model of mental activity and the relation between mind and body. I argue that their treatments of the film’s a

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irreparable

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https://doi.org/10.1007/978-3-642-92414-9rger embodied modern cinema’s capacity for expressing what Deleuze called the ‘powers of the false’. From Citizen Kane to Touch of Evil, Orson Welles evolved this figure to encapsulate the exhaustion, nihilism, and ultimately (self-)destructive drive of modern life. However, against this dominant im

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Die praktischen Einheitsbeträgeanley Donen and Vincente Minnelli giving birth to and outlining a dream image. In Donen, we find a world of “flat views” out of which dance emerges. With Minnelli, on the other hand, the flat view is replaced by a “plurality of worlds” confronting and absorbing one another and in which we find a “br

Decline

https://doi.org/10.1007/978-3-642-90991-7opacity. He argues that the film pursues this distinction, but only in order to then posit a general reversibility of these qualities, an indeterminacy or swapping between transparency and opacity that is central for the film’s aesthetic and narrative strategies. Deleuze details the play between tra