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Deleuze's Film-Philosophy : Thinking through Images
The Journal of Aesthetics and Science of Art
Abbr :
JASA
2017, 52(), pp.97-121
DOI :10.17527/JASA.52.0.04
Publisher : 한국미학예술학회
Research Area : Other Arts and Kinesiology
2017, 52(), pp.97-121
DOI :10.17527/JASA.52.0.04
Publisher : 한국미학예술학회
Research Area : Other Arts and Kinesiology
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This study poses a basic question about Gilles Deleuze's film-philosophy in order to resolve some misunderstandings and elucidate the practical implications of his film-philosophy: What Deleuze wants to mean with numerous examples of films and convoluted philosophical discussions in Cinema Books? Some criticize that Deleuze's film-philosophy has no practical implication due to their misapprehension that his film-philosophy is limited to the aesthetic analysis of filmic form and style, and only to esoteric European art house films. I think that these can be resolved if one understand the directionality that his philosophy implies through examining the context where his film-philosophy lies. For this purpose, this essay will present what Cinema Books wants to purport in relation to the concepts which are produced in A Thousand Plateaus and What is Philosophy. Since one can identify the relationship between philosophy and art, the goal of artistic creation and the structure of artistic thinking in What is Philosophy, and the practical implication of his philosophy in A Thousand Plateaus. Also, these works make us assure the ruptures of becoming that the multiple layers of Cinema produces. From these contexts, this study will examine how the co-creation of many concepts is being formed in Cinema Books. Thus, this article examines what Cinema wants to show in relation to following concepts at the crossroad of his other works: decentralisation, dehumanisation, deterritorialisation, time and life. Understanding of the relationship, as co-creation, between these concepts will help us overcome the misunderstandings that have surrounded Deleuze's film-philosophy.
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