Deleuze's Cinema Research Articles

Seeking the Political Function of Time-Image in New Turkish Cinema from a Deleuzian Perspective

In the study, minor-being is discussed together with Deleuze's cinema approach and the concepts he produced in philosophy. In this context, the film A Tale of Three Sisters, which allows a wide contextual analysis and focuses on micropolitics, has been examined. In the film, it was seen that subjects such as being-woman, being-other, poverty, class difference and majority domination were included. The study aims to analyze Deleuze's thoughts on modern political cinema, which he associates with minor literature, and to show that there are minor components in Turkish cinema.

Affect and Empathy

Our summer issue begins with a three-part special section on phenomenologies of perception in screen media. These articles focus on novel technological means of representing embodied, lived experience, as well as ways that visual media can impact embodied spectatorship. Each examines media artworks that attempt to represent the seemingly intangible, such as loss, decay, and temporality. The authors in this section offer nuanced and ethically oriented phenomenologies of vision, motion, and time. In “Projecting the Colors of Vision,” Wendy Haslem discusses how artists working in animation, cinema, and virtual reality use visual media to represent the lived experience of sight loss. Haslem analyzes the “haptic optics” of Yoav Brill's Ishihara (2010), Derek Jarman's Blue (1993), and James Spinney and Peter Middleton's Notes on Blindness (2016) to show how these artists use technological tools and experiments with color to represent diverse, embodied experiences of visual disability, and to encourage “empathic awareness” in viewers. In his article, Yifei Sun critiques the analog-contingent theories of movement put forward by Henri Bergson and Gilles Deleuze. Sun modifies aspects of Deleuze's Cinema 1: The Movement-Image to offer a theory that accommodates the qualities of digital film. Sun considers the possibilities for software art to produce what he calls “voyeuristic authorship” and applies his “ontology of decay” to Marc Lafia and Fang-Yu Lin's The Battle of Algiers (2006). In “Aesthetics of Slowness, Aesthetics of Boredom,” Giulia Tronconi examines slow cinema's phenomenology of time. Tronconi offers an incisive reading of Tsai Ming-liang's films I Don't Want to Sleep Alone (2006) and Days (2020) that reveals how the filmmaker uses “felt duration” as a strategy to cultivate “empathic contemplation” and “respectful observation” in viewers. The author engages with the work of Schopenhauer and Heidegger and with Deleuze's Cinema 2: The Time-Image to explain the political and ethical potential of delaying movement in film.

An Analysis of the Aesthetics of Temporal Space in Jia Zhangke's Films in the Perspective of Deleuze's Film- Philosophy

This paper examines Jia Zhangke's aesthetics of time and space based on Deleuze's cinema philosophy as a theoretical foundation. The paper's central thesis is that Jia Zhangke creates an aesthetic of space and time in film through the presentation of temporal images. Through an analysis of Jia Zhangke's The Good Man of Three Gorges, The World, and Xiao Wu, it is argued that Jia not only provides a practical example of Deleuze's philosophical theory of cinema but also portrays a complex and realistic social spectacle in the context and culture of China.

Becoming Giuliana: Antonioni'sRed Desertand the Capitalist Social Machine

This essay employs Deleuze and Guattari's analysis of the capitalist social machine to explore Michelangelo Antonioni's Red Desert (1964). More specifically, it addresses the psychological struggles of the film's female protagonist, Giuliana, with respect to duelling forces of capitalist deterritorialisation and Oedipal reterritorialisation. The essay also brings together Deleuze's cinema works with his and Guattari's schizoanalysis to show how Antonioni's use of the time-image itself functions as a deterritorialising force, particularly with respect to the film's pivotal island fantasy scene, where, if only momentarily, Giuliana engages in the Deleuzean act of becoming.

The Violence of the Frame: Image, Animal, Interval in Lars von Trier's Nymphomaniac

The Violence of the Frame:Image, Animal, Interval in Lars Von Trier's Nymphomaniac Steven Swarbrick (bio) All authentic reading is in its own way violent, or it is nothing but the complaisance of a paraphrase. — Pierre Macherey (113) Imago, n. 1. a. Entomology. The final or adult stage in the development of an insect, during which it is sexually mature. 2. Psychoanalysis. A subjective image of someone (esp. a parent) which a person has subconsciously formed and which continues to influence his or her attitudes and behavior. —Oxford English Dictionary, 2nd ed. What is a nymph, and how do we recognize her/its appearance in Lars von Trier's Nymphomaniac (2013)?1 The film's title—spelled Nymph()maniac—points to a difference without recognition. I am referring to the parenthetical lips that hollow out the film's center. Those lips, when read through a Foucauldian lens of power-knowledge-pleasure, are certainly not the same lips that, in saying yes to sex, believe they are saying no to power. The lips of von Trier's title do not speak the truth of one's sexual identity, much less the protagonist Joe's (Charlotte Gainsbourg). Instead, suspicious of the repressive hypothesis and its attendant sex-positive formulations, the lips of Nymphomaniac are more akin to the lips theorized in Luce Irigaray's essay "When Our Lips Speak Together," which posits a sexual ethics based on difference and self-fracture rather than a unified politics of the One. At the center of my question, then, there is a (w)hole fractured by two parentheticals. And yet the interval that interrupts my question is the same interval that arouses so much speculation about [End Page 131] the future of the image, as theorized by Jacques Rancière, and the image of life at the heart of biopolitics. Rancière frames the question of the image and its future in terms of the "interstice" and its distribution. Following Gilles Deleuze, Rancière states, "Thenceforward, what creates the link is the absence of the link: the interstice between images commands a re-arrangement from the void and not a sensory-motor arrangement" (Film Fables 108). Rancière continues his post-Deleuzian investigation into "the interstice between images" in The Future of the Image, where he is primarily concerned with the category of the new, that is, with what the image can be after the breakdown of the sensory-motor link between images. Notably, this absence of the link is also what governs the image of life within biopolitics, as "life itself" tends more and more toward molecularization and the recombination of elements (Myers 2015).2 Rancière highlights the connection between "life itself" and the image-link problematic in his essay on Deleuze, in which he calls Deleuze's cinema books works of "natural history." My goal—somewhat at odds with Rancière's—is to embrace Deleuze's notion of the image-link problematic by tracing the propulsive force of nature's queer negativity, the interval or gap between images, in von Trier's cinema. What creates the link in Nymphomaniac is the absence of the link—nature's hollow center. Among the first to read nature's absent center was Spinoza. According to Warren Montag, Spinoza reads nature in the same way he reads Scripture, by paying painstaking attention to the materiality of the letter, its gaps and contradictions—in a word, its form. Spinoza shows that there is not a coherent, undivided meaning beyond or behind the letter of the text, but a swarming assemblage of material bodies whose swarming encircles a void—text without substance. Montag relates Spinoza's reading practice to a series of natural disasters: Spinoza's method has been compared to an archaeology but, if anything, it resembles the activity of modern paleontology which in place of the gradual, uniform and continuous evolution imagined by Darwin … has restored to the fossil record its gaps and discontinuities, and in the process demonstrated the existence of a natural history replete with catastrophes and reversals. (11) This chain of catastrophes tells us how Spinoza's philosophy of reading connects to his metaphysics: nature is not a self-present totality...

The spectre-image: A hauntology of Skoonheid and Kanarie

The aim of this paper is to interrogate and trace the ghosts of heteronormative whiteness - and thus the spectres of queerness and blackness, specifically racial erasure through gendered foregrounding - in two recent motion pictures dealing with white, Afrikaner homosexuality, namely the 2011 film, Skoonheid {Beauty) and the 2018 film Kanarie {Canary). My aim is to look beyond the ostensible strengths of these films in terms of their representations of Afrikaner homosexual masculinities, both during and since the disbandment of apartheid, in order to see whether these films are indeed as politically progressive as they seem to be. Drawing on Gilles Deleuze's cinema books and Jacques Derrida's notion of hauntology - a wordplay on 'haunting' and 'ontology' - I investigate here the ways in which subjectivities and geographies (place/space) in Skoonheid and Kanarie produce and reproduce knowledges about race, gender and difference, and map some ways in which these are assimilated into socio-political, geographical and temporal configurations through what I call the spectre-image. Keywords: Counter-enunciations, hauntology, racial erasure, spectre-image, structural absence.

Boring Holes: The Crystalline Body of Beckett'sThe Lost Ones

In a 1937 letter to Axel Kaun, Beckett describes the mark of modern literary ambition as an inexhaustible drive to ‘drill one hole after another into [language] until that which lurks behind, be it something or nothing, starts seeping through.’ Much is made of this little line by readers of Beckett from Gilles Deleuze and Mladen Dolar to, more recently, Alenka Zupançiç. As its title teases, this essay takes up Beckett's directive to read for, with, and through the holes bored into language alongside the bodies—narrated and narrating—captured by it as so many boring, banal holes into which meaning, form, and other bodies can be pushed. In The Lost Ones, Beckett's short prose piece from 1971, bodies abound: lost, scurrying, shivering, defeated, sweaty, aroused, pained, aging, nauseated, desiring bodies. Beckett's ‘most anthropological work,’ as C. J. Ackerley and S. E. Gontarski have dubbed it, The Lost Ones proposes a series of fundamental contradictions or antagonisms between the narrating ‘anthropological’ voice concerned with quantitatively capturing a neutralized (and neutered, disembodied) totality—and the titular ‘lost’ bodies that inhabit the world of the text, for whom embodiment wholly determines both the potentialities and limitations of life, movement, and feeling.The ‘bore’ of a cylinder—the shape of the contained world of The Lost Ones—incidentally also names the diameter of empty space, the hole, around which its form wraps. This essay explores the antagonistic relationship between the circumscribing forces that envelop and contain life in the cylindrical space of narration, and its bore: the ‘something or nothing,’ as Beckett might put it, into which a substance can drill, enter, flood, leak, or fall. The objectifying impulses of the affectively eviscerating, abstracted narrator of The Lost Ones short-circuit throughout the text in special moments, when the bodies the voice describes erupt into what this essay will call a ‘crystal image.’ Taken from Deleuze's Cinema books, the crystal image and its transmission through ‘crystalline description’ name a set of aesthetic operations through which antagonisms can coexist. In other words: where otherwise mutually exclusive contradictions appear simultaneously as imbricated conditions of possibility for a single image. While the voice gazes, god-like, from above the cylinder, the bodies it describes explode its forms of containment with a kind of qualitative surplus that over and again impedes the narrator's attempts to totalize, circumscribe, and define the limits of embodied and affective life. I argue that the eruption of affect within the scientistic descriptive mode not only forms a crystal image out of an otherwise contained realm of quantifications, but that by pinning oppositional forms of aesthetic capture and representation against one another, the text reveals fundamental contradictions at play within narration and description more broadly. These contradictions and equivocations are not to be resolved or reconciled, I argue, but animated, sparked, and put into play through the process of reading.

David Deamer (2016)Deleuze'sCinemaBooks: Three Introductions to the Taxonomy of Images

David Deamer (2016)<i>Deleuze's</i>Cinema<i>Books: Three Introductions to the Taxonomy of Images</i>

A Study on the education for making the moving image based on the analysis of Deleuze's cinema theory

A Study on the education for making the moving image based on the analysis of Deleuze's cinema theory

Inverted identification: Bergson and phenomenology in Deleuze's cinema books

Deleuze's cinema books are often understood as adopting a Bergsonian framework while rejecting phenomenological accounts of film experience for equating ‘cinematographic perception’ with ‘natural perception’; or, alternatively, simply as being a phenomenological inquiry. Reading Deleuze's comments on, and references to, phenomenology in the cinema books (especially Merleau-Ponty, Laffay, and Dufrenne), this paper argues that while not following a phenomenological logic in general, at certain moments the cinema books' Bergsonian account intersects with phenomenology. Moreover, in the books, the existence of movement-images in the cinema depends on the spectator's experience of watching films. The logic explaining this encounter is indebted to the account of the experience of art and cinema in phenomenology which Deleuze combines with the discussion of ‘real’ movements in Bergson's Creative Evolution. This reliance on a specific ‘passive’ viewer's experience can explain the books' limited interest in early cinema and in television, video, and the digital image.

Weariness, Waiting: Enduration and Art Cinema’s Tired Bodies

What characterizes gesture is that in it nothing is being produced or acted, but rather is being endured and supported. The gesture, in other words, opens the sphere of ethos as the more proper sphere of that which is human. But in what way is an action endured and supported?-Giorgio Agamben, Notes on GestureMediating the border of art cinema's ontology of acting and an epistemology of narrative action, we find a permeation of fatigue.1 From Vittorio De Sica's slowly stretching maid Maria to Robert Bresson's dedramatized models, from Andy Warhol's diffident portrait subjects to Tsai Ming-Liang's itinerant sleepy drifters, from Agnes Varda's vagabonding Mona to Pedro Costa's Vanda, and from Chantal Akerman's Jeanne Dielman to Lynne Ramsay's deracinated Eva, art cinema presents a boundless corporeal lexicon of figures, gestures, and affects of exhaustion.2 Yet tiredness also presents a set of exegetic problems in terms of its visibility and invisibility, and at the level of an experienced, sensed temporality. That is, fatigue, weariness, tiredness, and exhaustion emerge from a relation to a sense of a time that passes, passes on, and passes through the actor's laboring body, but also never ceases to pass on, to pass through.3 This is the constancy of an indeterminate state of abeyance, of lassitude, torpor, the intertwining of its metaphysical, aesthetic, and political dimensions. Can we extrapolate from a physiologically pervasive and collective commonplace an epistemic tool for reading filmic corporeality, focusing in this particular instance on the profilmic performing body, its weariness and wearing out? Following Agamben, might we uncover the gestures of tiredness, that which the gestures of tiredness endure and support?One of the most prominent mobilizations of fatigue as a figure in art cinema appears in Gilles Deleuze's Cinema 2: The Time Image, which maps the telos and genealogy of an emergent postwar aesthetic form. A much-noted passage expresses the condition of art cinema's embrace of the corporeal, producing an image of the body in a state of delay and arrest, its tirednesses and waitings4 attitudes that bespeak an essentially modern, fundamentally elliptical pose, and announcing an emergent cinema of gesture:The body is never in the present, it contains the before and the after, tiredness and waiting. Tiredness and waiting, even despair are the attitudes of the body.... The daily attitude is what puts the before and after into the body, time into the body, the body as a revealer of the deadline. . . . Perhaps tiredness is the first and last attitude, because it simultaneously contains the before and after: what Blanchot says is what Antonioni shows, not the drama of communication, but the immense tiredness of the body, the tiredness there is beneath The Outcry and which suggests to thought, something to incommunicate, the unthought, life.5For Deleuze, tiredness insists on a belated condition, that which comes after, a state that lies at the precipice of the futural. Challenging the present as a viable mode, the belatedness of tiredness superimposes past and present in an overlay of sensation. Tiredness is both a trace of action, converted into malaise or enervation for which the body cannot fully account any longer, and an inscription of expectation. Thus, weariness falls into a state of waiting, a signification of expiring time and expiration's anticipation. Fatigue foregrounds the body's ineffable presence as the unthought, evading signification, a condition of liveliness in an image of dissipation. Deleuze reads the films of Michelangelo Antonioni, JeanLuc Godard, Jacques Rivette, John Cassavetes, Philippe Garrel, and Chantal Akerman, and this is one of the few places where he discusses experimental film and female authored cinema.6 To the extent that Deleuze innovatively produces an archive of gestures linked to tiredness, the account of tiredness itself remains relatively descriptive-a feature of the body's indexing of temporality, a vehicle for an account of the undoing of the action-image in the tracing of a cinema of the time-image-a cinema of attitudes, postures, and gestures. …

James Stirling's Architecture and the Post-War Crisis of Movement

Deleuze's cinema project identifies a crisis of movement, action and thought, established initially in the war-devastated spaces of neo-realist cinema. Indirectly these spaces subordinate architecture as the locus of crisis, which only new, temporal artistic practices can avert. However, an architectural model of the smooth and striated, revealing a sophisticated interplay of the two concepts, can reinstall design practice and the intentional built environment as part of a productive and affirmative image of thought. The designs of James Stirling, whose career unfolds alongside significant developments in post-war spatial thought, reveal sensual expressions of new modes of subjectivity and individuation to accompany the increasingly aleatory and lacunary nature of movement.

About The movement and the Whole in Gilles Deleuze's Cinema

About The movement and the Whole in Gilles Deleuze's Cinema

The Neuro-Image. Alain Resnais's Digital Cinema without the Digits

Der Beitrag schlägt vor, das Kino des digitalen Zeitalters als einen neuen Typus des Bildes zu lesen: als Neuro-Bild. Im Rückgriff auf Gilles Deleuzes Kino-Bücher sowie sein Werk Differenz und Wiederholung argumentiert der Beitrag, dass das Neuro-Bild in der Zukunft begründet sei. Abschließend wird das Kino von Alain Resnais als Neuro-Bild und digitales Kino avant la lettre vorgestellt. &lt;/br&gt;&lt;/br&gt;This paper proposes to read cinema in the digital age as a new type of image, the neuroimage. Going back to Gilles Deleuze's cinema books and it is argued that the neuro-image is based in the future. The cinema of Alain Resnais is analyzed as a neuro-image and digital cinema .

Rancière, Deleuze and contemporary film aesthetics

A groundbreaking work in the theorization of cinema, Gilles Deleuze's Cinema project embraces an original conceptual terminology in order to express the complexity of the world of moving images. A philosopher and cinephile, but avowedly not a film scholar, Deleuze offers an innovative philosophical approach to cinema's ability to reflect on our world as well as its ability to transform human modes of thought and expression. The film books (1983, 1985; trans. 1986, 1989) are an extraordinary attempt to see the cinema differently, through a Bergsonian–Nietzschean lens, and thus to learn from the cinema what it does and has done for twentieth-century thought – for philosophy, but also for art and political thought. From a similar passion for cinema and a devotion to the philosophy of art, Jacques Rancière works from Deleuze's general premise, taking the French philosophy of cinema in a direction founded upon a different set of theoretical principles. Engaging directly with Deleuze's work, Rancière seeks to historicize and to understand both the cinema in general, and Deleuze's work on the cinema. Although Deleuze did not live to engage in turn with Rancière's criticism, a critical dialogue between the two thinkers' works around the cinema would be a fertile example of the French philosophy of cinema, not only touching on philosophy's relationship to or use of the cinema, but also revealing, through the cinema, an ongoing debate in philosophy (admittedly, as old as Parmenides and the original questioning of the unity or multiplicity of substance).

Paris and its Doubles: Deleuze/Rivette

This essay sets out from the premise that the films of Jacques Rivette merit sustained reconsideration in the framework provided by Deleuze's Cinema 2: The Time-Image. In particular it explores the concepts of ‘the powers of the false’ and ‘fabulation’ as ways of engaging with Rivette's cinematic oeuvre, with a particular focus on his Paris-set films. On this basis the article seeks to add to the readings undertaken by Deleuze himself and, in the light of Rivette's cine-thinking, to examine in tandem both films to which Deleuze directly responded, such as Le Pont du nord, and later post-Deleuze renegotiations of the city such as Secret défense.

Beowulf: The Digital Monster Movie

Robert Zemeckis' Beowulf (2007) is the latest film made using motion capture technology, a film that tells the story of a hero's quest to defeat a series of monsters.This article examines not only the thematic role of monstrosity in the film, but also the way in which the film's very construction, through motion capture and CGI, can be understood as monstrous. That is, after Deleuze's Cinema 2: The Time Image (1989[1985]), Beowulf can be understood as typifying a cinema that has seen a shift from montage to montrage, a cinema that shows. Analysing the aesthetics of monstrosity in Beowulf, the author also considers how the film's motion capture synthespian performances can be understood as comic through Henri Bergson's (1912[1900]) theory of laughter, which suggests that humans laugh at mechanized human beings.

The Disease of Images

The Disease of Images1 Aidan Tynan (bio) The most pressing question for Deleuze studies today relates to how it constitutes its object: the question of how to read him must give way to questions of why. Deleuze was, arguably, unique among the philosophers of his generation in that he left us with a comprehensive guide on how to live, but this has, paradoxically, made the question of what to do with his work all the more urgent. For this reason, perhaps, Claire Colebrook's contribution to Continuum's "Guide to the Perplexed" series attempts to steer clear of Deleuze the vitalist philosopher or metaphysician of becoming, instead figuring his importance largely through his contribution to cultural studies. This introduction, then, foregoes any chronological explication of Deleuze's career, allowing the author to recast what she sees as the central, properly transcendental, Deleuzean problem, "what is life such that thinking became possible?", in terms of his cinema books (2). Colebrook opens with an attack on the vitalist interpretation, mentioning Badiou in particular, in which some metaphysical entity is said to pre-exist life's actual and virtual reality as the power to differ and produce itself as difference. It is this differing power that Deleuze discovered in Bergson's concept of duration, in which the collapse of the Aristotelian division of a body's proprioceptive image of movement and the physical distance covered led to a diagnosis of a psychological crisis. While Bergson himself considered the cinematographic illusion as the very essence of this crisis, Deleuze sees cinema as the discovery of types of potentiality in life, the invention of different styles of duration through the inhuman apparatus of the camera. Hence, Eisenstein can be said to have opened life up to a negative presentation of time through the revolutionary duration of the montage, while postwar French cinema amounted to a direct presentation of time as the "fissure" between the [End Page 364] virtual and the actual through an opposition of what Deleuze calls the affection image and the action image. It is at this latter point in history that thought can be said to confront its own power via cinema in that it grasps the fissure or crack that separates thought from unthought and which prevents life from being that metaphysical unity postulated by vitalism. Thus, the eye freed from the limitations of the central nervous system and the Aristotelian space thereby imposed on it allows the image itself to become an agent of philosophy. The most interesting aspect of these chapters, which cover the first two thirds of the book, is the idea that Deleuze's cinema studies could constitute a radical, materialist historicism. Modern cinema, by thinking the genesis of relations, gives a presentation of what Massumi has called the autonomy of affect. The eye-brain-body is decoupled from the narrative or temporal order of relations involved in acting. There is, then, a primacy of affection within the experience of time beyond the order of temporal successions. Affect, like the concept, travels at infinite speed. This autonomy of affect prior to any temporal or sociolinguistic order of succession is, as Colebrook rightly points out, the central political idea in Deleuze. Relations are thought in terms of their potential to relate, and therefore are external to the empirical terms of their actualization. Colebrook indicates that this is how we might consider Deleuze as a historicist. The past is the virtuality of a present it is coeval with. Art, by releasing the power of the virtual, is how history is given. But history in this sense is indistinguishable from an ethics of reading, which Colebrook demonstrates on Wordsworth's "The Prelude" (82). Reading here must be seen in terms of a historicism not usually associated with Deleuze. It is to Colebrook's credit then that she foregrounds the concept of counter-actualization, the means through which aesthetic experience both renders the actuality of some object—a pair of peasant's shoes—while relating it to the virtualities of which it is composed and which has "the value of what could have happened" as Deleuze puts it. Counter-actualization liberates the virtual from the actual which imprisoned it while...

Typewriter: Free Indirect Discourse in Deleuze's Cinema

The figure of speech variously called "free indirect discourse," "quasi-direct discourse," or "represented speech," dominates Gilles Deleuze's two-volume study Cinema, a work also containing a theory of cinematic "free indirect images." Deleuze develops a concept of free indirect images, which, he argues, articulate the social in "modern cinema," opening political and ethical dimensions of the "time-image." Although Deleuze does not present his conceptualization of cinematic free indirect images as a theory of his own writing practice, if we link it to the figure as it appears in Cinema, we cannot but wonder how Deleuze's writing relates to his thought. Cinema's reflection on free indirect images exposes a major literary device used by Deleuze since his first books, but the theory mirrors the practice in an interested way, presenting it in a glamorous light that makes it hard to see the position from which Deleuze writes. By ignoring class critique in his theoretical sources, Deleuze makes his own practice seem unquestionably righteous, yet despite its triumphal air and limited, unconscious cosmopolitanism, Deleuze's theory of free indirect images revitalizes the study of cinematic subjectivity. Beyond the boundaries of film studies, Deleuze's theory prepares us to think the ethical and political aspects in an implicit, unelaborated concept that informs contemporary modes of social control— the concept of "life." In literature, free indirect discourse presents the speech, writing or thought of a character in the character's own language, but without using quotation marks, as in the following example from Dickens's Our Mutual Friend. The italicized phrase below is clearly in the language of the "four rough fellows" attending Riderhood's death, and whose thoughts the narrator reports: See! A token of life! An indubitable token of life! The spark may smoulder and go out, or it may glow and expand, but see! The four rough fellows, seeing, shed tears. Neither Riderhood in this world, nor Riderhood in the other, could draw tears from them; but a striving human soul between the two can do so easily. (440). Although the most famous theories of free indirect discourse take their examples from literary fiction, philosophical examples can be found throughout Deleuze's oeuvre.1 The literary character of Deleuze's [End Page 107] philosophical writing has provoked many scholarly remarks, including Deleuze's own. In the introduction to Difference and Repetition, he writes, "a book of philosophy should be in part a very particular species of detective novel, in part a kind of science fiction" (xx). At the 1995 International Filmology Colloquium, the first major conference devoted to Deleuze's Cinema, Raymond Bellour described Deleuze's books as a kind of novel. Deleuze uses the figure of free indirect discourse even while he elaborates his concept of free indirect cinema; for example: As Pasolini aptly comments, Godard also uses characters who are undoubtedly ill, "seriously affected," but who are not undergoing treatment, and who have lost nothing of their material degrees of freedom, who are full of life and who rather represent the birth of a new anthropological type. (Cinema I, 75). The phrase "a new anthropological type" comes directly from Pier Paulo Pasolini's essay on "The Cinema of Poetry," one of the sources of Deleuze's theory of free indirect images. Since the association of a cinematic style with an anthropological type is unusual, the expression grafts Pasolini's language onto Deleuze's text. Examples such as this one are often closely associated with paraphrases including words from the author's lexicon, for example, "but if [for Pasolini] Antonioni's vision of poetic consciousness is essentially aesthetic, Godard's is rather 'technicist' (but no less poetic)" (75). Pasolini names Antonioni's style one of aesthetic consciousness, and the word appears here in Deleuze's text as Pasolini's. In part, Deleuze uses the related figures of free indirect discourse and paraphrase to isolate phrases and words from other authors in order to appropriate these for his...