Abstract
This paper aims to approach cinema, philosophy, and pedagogy from a double perspective: from the work of the Portuguese filmmaker, Manoel de Oliveira, and from the philosophical praxis of Gilles Deleuze. When Oliveira saw the public lecture that Deleuze gave in 1987 at La Fémis, he felt challenged by the philosopher's words and wrote him a letter in 1991. Furthermore, Deleuze referred to Oliveira’s films as one of the “greatest pedagogies”. Cinema was then seen as a new cartography to the philosophical plane contributing to a mutually reciprocal movement between cinema and philosophy. In this sense, the encounters between cinema and philosophy as well as the connection between cinematic images and philosophical concepts, will be the theme of this essay.
Highlights
My aim in this essay will be to approach cinema, philosophy, and cinematic pedagogy through and exploration of the interest and impact that the Portuguese filmmaker Manoel de Oliveira (b. 1908) has had on the philosophical thought regarding cinema and moving images of Gilles Deleuze (1925-1995).According to Deleuze, there is a principle of affinity between the cinematographic and the philosophical form of thought expression, explored as a peculiar transversal project alongside pure philosophical inquiry
The “exit from the mind in the cave”, in the platonic sense, may occur, paradoxically, through what Deleuze defines as a pedagogical cinephilia, a cinematic pedagogy not understood in the common sense of transmitting knowledge and/or information, but as new ways of perception and thinking, mentioned beginning in his earlier texts and maintained throughout his career, such as Difference and Repetition
Manoel de Oliveira's interest in Gilles Deleuze expresses something that is very common to all the artists that felt compelled by his philosophical ideas on art[25]
Summary
My aim in this essay will be to approach cinema, philosophy, and cinematic pedagogy through and exploration of the interest and impact that the Portuguese filmmaker Manoel de Oliveira (b. 1908) has had on the philosophical thought regarding cinema and moving images of Gilles Deleuze (1925-1995).According to Deleuze, there is a principle of affinity between the cinematographic and the philosophical form of thought expression, explored as a peculiar transversal project alongside pure philosophical inquiry. The encounters between cinema and philosophy as well as the connection between cinematic images and philosophical concepts, will be the theme of this essay.
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