Deleuze and World Cinemas
Transworld Cinema/Transworld Deleuze
(Sprache: Englisch)
Shortlisted for the British Association of Film, Television and Screen Studies Annual Book Award!Deleuze's Cinema books continue to cause controversy. Although they offer radical new ways of understanding cinema, his conclusions often seem strikingly...
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Klappentext zu „Deleuze and World Cinemas “
Shortlisted for the British Association of Film, Television and Screen Studies Annual Book Award!Deleuze's Cinema books continue to cause controversy. Although they offer radical new ways of understanding cinema, his conclusions often seem strikingly Eurocentric. Deleuze and World Cinemas explores what happens when Deleuze's ideas are brought into contact with the films he did not discuss, those from Europe and the USA (from Georges Méliès to Michael Mann) and a range of world cinemas - including Bollywood blockbusters, Hong Kong action movies, Argentine melodramas and South Korean science fiction movies. These emergent encounters demonstrate the need for the constant adaptation and reinterpretation of Deleuze's findings if they are to have continued relevance, especially for cinema's contemporary engagement with the aftermath of the Cold War and the global dominance of neoliberal globalization.
Inhaltsverzeichnis zu „Deleuze and World Cinemas “
Introduction: Deterritorializing Deleuze \ Spectacle I: Attraction-Image \ 1. The Attraction-Image: From Georges Méliès to the Spaghetti Western \ Impossible Voyage (1904) \ Django (1966) \ Keoma (1976) \ History: Deleuze After Dictatorship \ 2. The Child-seer in and as History: Argentine Melodrama \ Kamchatka (2002) \ 3. Folding and Unfolding History: South Korean Time Travel Movies \ Calla (1999) \ Ditto (2000) \ 2009: Lost Memories (2002) \ Space: Geopolitics and the Action-Image \ 4. Not just any-space-whatever: Hong Kong and the global/local action-image \ Police Story (1985) \ 5. Globalization 's Action Crystals: Los Angeles in Michael Mann Blockbusters \ Heat (1995) \ Collateral (2004) \ Spectacle II: Masala-Image \ 6. The Masala-Image: Popular Indian (Bollywood) Cinema \ Toofani Tarzan (1936) \ Awaara (1951) \ Dilwale Dulhania La Jayenge (1995) \ Conclusion: The Continuing Adventures of Deleuze and World Cinemas \ Bibliography \ Index.
Autoren-Porträt von David Martin-Jones
David Martin-Jones is Professor in Film and Television Studies at the University of Glasgow, UK. He is the author of Deleuze, Cinema and National Identity (2006), Deleuze Reframed (2008) and Scotland: Global Cinema (2009), and co-editor of Cinema at the Periphery (2010) and Deleuze and Film (forthcoming). He is on the editorial boards of Film-Philosophy and A/V: The Journal of Deleuzian Studies.
Bibliographische Angaben
- Autor: David Martin-Jones
- 2011, 288 Seiten, Maße: 15,9 x 23,7 cm, Kartoniert (TB), Englisch
- Verlag: Continuum
- ISBN-10: 0826436420
- ISBN-13: 9780826436429
Sprache:
Englisch
Rezension zu „Deleuze and World Cinemas “
Deleuze and World Cinemas is distinctive in the critical literature on cinema: it offers a reading of Deleuze that is neither for nor against the philosopher. It is respectful of Deleuze's writings on cinema, but the book is steadfast in its tracing of the various ways in which Deleuze's formulations of the time-and movement-images, their Eurocentrism, necessitate their reconsideration in the context of World cinemas. Jones argues convincingly and in a lucid and engaging style for an "a-Deleuzian" position based on a careful examination of the Deleuze texts themselves, on major studies of Deleuze's cinematic philosophy, and on seminal writings in cinema theory and practices. Most striking is Martin-Jones's selection of films that, instead of rehearsing usual canonical suspects, opts for an analysis of popular films from Argentina, South Korea, Hong Kong, Hollywood, and India to refine on, expand, and resituate Deleuze's thoughts on cinema in the context of globality." - Marcia Landy, University of Pittsburg, USA
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