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2013, Columbia University Press
Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.
New Review of Film and Television Studies
Review of "Where Film Meets Philosophy," by Hunter Vaughan2013 •
Scope: An Online Journal of Film and Television Studies
Review Essay: Deleuze and Cinema: The Film Concepts by Felicity Colman, Deleuze and World Cinemas by David Martin-Jones, New Takes in Film-Philosophy by Greg Tuck and Havi Carel2013 •
2018 •
DOI 10.1590/0100-512X2017n13914sv In this essay I analyse the different modalities of thought that occur between philosophy and moving images, beginning with Gilles Deleuze’s metaphilosophical distinction between “thinking” and “philosophizing”. This is an essential distinction for the possible elaboration of a film philosophy, or at least one which claims that “film philosophizes,” a thesis that is nowadays immerged in a certain misconstruction. In this sense, I suggest, as a conceivable resolution to this misunderstanding, a more proper Deleuzian designation of “thinking with concepts” and “thinking with images,” in a fundamental reciprocal process between the philosophical and non-philosophical fields of the arts. Starting with an introduction to Deleuze’s noology and a description of these ideas and their aesthetic value, I proceed with a closer analysis of moving images, metaphors, and film adaptation in order to question, within a post-continental-analytic approach, whether film philosophizes.
Quarterly Review of Film and Video
Jean-Luc Godard's Diptychs. Rethinking Cinema through the Essay Film (ACCEPTED MANUSCRIPT) Quarterly Review of Film and Video 40(1), 2023, pp. 16-552021 •
The beginning of Jean-Luc Godard’s essayistic practice is intrinsically linked to the use of the diptych device. Thus, a previous work is the cause of an essay film that aims to reflect on the cinematic practice carried out. This article aims to analyse the use, function, and evolution of this device in the beginning and consolidation of the Godardian essay film. While Camera-eye (1967) offers a prefiguration of this new filmic form in relation to La Chinoise (1967), Letter to Jane (1972) results in its first realisation concerning a previous fiction, Tout va bien (1972), in order to continue the reflection on the intellectuals’ role in revolution. Thanks to the decisive arrival of video technology, essential for the essay film practice, Ici et ailleurs (1976) takes up the material of the never released film Jusqu'à la Victoire to generate self-criticism in militant practice. Finally, with Scénario du film Passion (1982), Godard offers a new subsequent essay film that generates both temporalities, before and after the creation, in order to embody an essential self-portrait of the audiovisual essayist. This series of diptych works reveals a hypertextual audiovisual thinking process that rethinks cinematic practice.
2016 •
The present article aims to show how the consolidation of the cinematic form of the essay film in Jean-Luc Godard’s work is a consequence of the evolution of his experience in the cinéma militant. This militant cinema emerges from the political and social circumstances that caused May 68 and in the case of the filmmaker is materialized through his participation in the Dziga Vertov Group. The defining elements of the group’s filmic experience –the supremacy of montage, the dialectics between images and sounds and the relevance of the spectator as an active part of a dialogical practice– are the same that bring about the essayistic form when the film is enunciated from the author’s subjectivity. With the analysis of Letter to Jane this paper tries to demonstrate how the irruption of subjectivity in the revolutionary cinematic practice allows the appearance of self-reflexivity and the thinking process that define the cinematic essay. RESUMEN El presente artículo pretende mostrar cómo la consolidación de la forma cinematográfica del film-ensayo en la obra de Jean-Luc Godard es consecuencia de la evolución de su experiencia en el cinéma militant. Un cine militante que surge de las circunstancias político-sociales que dieron lugar a mayo del 68 y que en el caso del cineasta se materializa mediante su participación en el Grupo Dziga Vertov. Los elementos definitorios de la experiencia fílmica del grupo –la primacía del montaje, la dialéctica entre imágenes y sonidos y la relevancia del espectador como parte activa de una práctica dialogística– son los mismos que propician la forma ensayística cuando la obra se enuncia desde la subjetividad del autor. Con el análisis de Letter to Jane pretendemos mostrar cómo la irrupción de la subjetividad en la práctica cinematográfica revolucionaria posibilita la aparición de la auto-reflexión y del proceso de pensamiento definitorios del ensayo cinematográfico.
The article offers a survey of Deleuze's interest in images throughout his career. It suggests that his enduring fascination with time is the driving force behind his relatively late preoccupation with images, which started with an essay on Lucretius, followed by his book on Bacon's paintings, his two famous books on the cinema and a brief piece on Beckett's TV-plays. During the ten years of not discussing time at all, time has changed the medium of reflection: Deleuze stops conceiving time-as most structuralists do-as infinite, one-directional successiveness, similar to how utterances work. After the gap years, time gets involved in an "evental logic" that is designed after the role-model of images. From now on, time incorporates divergent flight lines (to a past, that never existed, to a future, that will never come true etc.). Far from being only chronological, time becomes a code name for a "reservoir" of simultaneity that undermines and overrides...
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