Using Deleuze: The cinema books, film studies and effect by Dyrk Ashton

By Dyrk Ashton

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By Dyrk Ashton

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It should not be surprising, then, that the disciplines of philosophy, science, and art co-mingle throughout the cinema books. Deleuze’s metaphysics is not a science, but it is no mere coincidence if some of his work in the cinema books begins to sound like physics - quantum mechanics, probability theory, even chaos theory and string theory. Deleuze draws heavily upon the works of Henri Bergson, and it was Bergson’s intention “to give modern science the metaphysics that corresponds to it, which it lacks” (T-I 7).

It seems, however, that there has been a resurgence of interest in philosophical writings on film within the field of film studies. This is in part due to Bordwell and Carroll’s campaign for cognitivism, which is closely related to Anglo-analytical philosophy (not all works in philosophy and film are cognitivistic, however). ; Christopher Falzon’s Philosophy Goes to the Movies (2002); Mary Litch’s Philosophy Through Film (2002); Mary Ann Doane’s The Emergence of Cinematic Time: Modernity, Contingency, the Archive (2002); The Matrix and Philosophy: Welcome to the Desert of the Real (2002, Popular Culture and Philosophy series, Vol.

32 There are a number of books designed to promote an understanding or argue an interpretation of Deleuze’s general philosophy, providing an overview of his writings from philosophical and/or cultural perspectives. This body of work is written by scholars from a wide variety of fields and covers a broad range of topics from culture studies, sociology, philosophy, comparative literature, political studies, English, science, theology and religion studies, French studies, and more. , and Claire Colebrook’s Understanding Deleuze (2002).

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