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Deleuze's Cinema Books

Three Introductions to the Taxonomy of Images

David Deamer

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Explores all the concepts in Deleuze’s Cinema books, using contemporary film readings as illustrative examples for each concept

Deleuze’s two Cinema books explore film through the creation of a series of philosophical concepts. Not only bewildering in number, Deleuze’s writing procedures mean his exegesis is both complex and elusive. Three questions emerge: What are the underlying principles of the taxonomy? How many concepts are there, and what do they describe? How might each be used in engaging with a film?

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Contents

Figures and frames
Acknowledgements
Abbreviations
Preface: a Deleuzian cineosis

Part One Unfolding the Cineosis

Section I – First Introduction – Two Regimes of Images
1 Movement-images and time-images: Bergson, image and duration
2 Movement-images: Peirce, semiosis
3 Time-images: Deleuze, syntheses
4 Time-images and movement-images: Bergson, duration and image

Section II – Second Introduction – A Series of Images and Signs
1 Perception-images
2 Affection-images
3 Impulse-images (the nascent action-image)
4 Action-images (small form, action → situation)
5 Action-images (large form, situation → action)
6 Attraction-images (first reflection-image; sixth mental-image)
7 Inversion-images (second reflection-image; fifth mental-image)
8 Discourse-images (third reflection-image; fourth mental-image)
9 Dream-images (third mental-image)
10 Recollection-images (second mental-image)
11 Relation-images (first mental-image)
12 Opsigns and sonsigns
13 Hyalosigns
14 Chronosigns
15 Noosigns
16 Lectosigns
Afterword to Part One: the unfolded cineosis

Part TWO Enfolding the cineosis

Section III – Third Introduction – Cinematographics (1995–2015)
1 Le scaphandre et le papillon/The Diving Bell and the Butterfly. Solid perception
2 Timecode. Liquid perception
3 Naqoyqatsi. Gaseous perception
4 Theeviravaathi/The Terrorist. Icon
5 Despicable Me, Despicable Me 2 and Minions. Dividual
6 Le quattro volte/Four Times. Any-space-whatever
7 The Human Centipede (First Sequence). Symptom
8 Harry Potter and the Deathly Hallows: Part 1 and Harry Potter and the Deathly Hallows: Part 2. Fetish
9 Innocence. Originary World
10 Madeo/Mother. Index of lack
11 The Killer Inside Me. Index of equivocity
12 Ajami. Vector
13 marxism today (prologue) and untitled. Milieu
14 Made in Dagenham. Binomial
15 Fish Tank. Imprint
16 Tian bian yi duo yun/The Wandering Cloud. Plastic figure
17 Scott Pilgrim vs. the World. Theatrical figure
18 Source Code. Mise en abyme
19 Four Lions. Figure of the sublime
20 Slackistan. Figure of enfeeblement
21 Un homme qui crie/A Screaming Man. Quotidian
22 Monsters. Limit of the large form action-image
23 Brooklyn’s Finest. Limit of the small form action-image
24 Metro Manila. Limit of the action-image
25 Star Trek – First Contact. Rich dreams
26 The Machinist. Restrained dreams
27 Inception. Movement of world
28 El secreto de sus ojos/The Secret in Their Eyes. Strong destiny
29 White Material. Weak destiny
30 Triangle. Forking paths
31 Se7en. Mark
32 Doctor Who – The Day of the Doctor. Demark
33 Buried. Symbol
34 Five. Opsigns and sonsigns
35 Black Swan. Mirrors face to face
36 Self Made. Limpid and opaque
37 Synecdoche, New York. Seed and environment
38 Loong Boonmee raleuk chat/Uncle Boonmee Who Can Recall His Past Lives. Peaks of the present
39 Russkiy kovcheg/Russian Ark. Sheets of the past
40 Er shi si cheng ji/24 City. Powers of the false
41 I’m Not There. Bodies of attitude
42 Politist, adjectiv/Police, Adjective. Bodies of gest
43 Dogville. Cinema of the brain
44 Enter the Void. Lectosigns

Select Bibliography
Filmography
Index

About the Author

David Deamer is an affiliated scholar with the English, Philosophy and Film departments of Manchester Metropolitan University

Reviews

'Despite their enormous influence, Deleuze’s Cinema books remain difficult and obscure for many readers. David Deamer’s ‘Three Introductions’ to these texts—incorporating philosophical sources, semiotic typologies, and film analyses—provide comprehensive, enlightening pathways into the conceptual background and cinematic specificities of Deleuze’s film-philosophy. An impressive achievement.'
- Robert Sinnerbrink, Macquarie University

'This superb new book provides the most comprehensive and user friendly introduction to Deleuze's taxonomy of cinematic images to date. Deleuze’s many and complex image categories are each unpacked, clearly, succinctly and with invigorating style, in relation to a wide range of extremely important films from around the world. Deamers’ unique approach has the unusual capacity to make you feel amazed, once again, at the genius of Deleuze, but equally, able to think about cinema with Deleuze as though having a chat with a good friend after watching a movie.'

- David Martin-Jones, University of Glasgow

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