Abstract
The emergence of cinema in the nineteenth century was contemporaneous with the rise of modern sports, both popular spectacles connected with the industrial revolution. Deleuze sees film in his Cinema books as the aesthetic expression of a specifically modern understanding of movement, in contrast to the science and philosophy of antiquity. This article uses Deleuze's analysis of cinema to characterise the aesthetic of modern sports as another ‘industrial art’ with a similarly innovative approach to space, time and movement. It also shows how the aesthetic impact of a sporting match is aligned with the dimensions of Deleuze's ‘affection-image’ in cinema, which frames the world as a ‘face’ divided between absorption and agitation.
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