Film-Philosophy
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Patricia Pisters (2012) The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture
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Ambivalent Screens: Quentin Tarantino and the Power of Vision
No full textReveling in the self-reflexive and the metacinematic, Quentin Tarantino's films are often associated with a Baudrillardian postmodernity. His most recent Inglorious Basterds (2009) continues in the same self-referential vein as his earlier films but adds a blatant falsification of history which pushes the question of the reality and images even further. But, this essay asks, is a Baudrillardian perspective the most fruitful one in comprehending the creative potential of Tarantino's latest film? Moving from Baudrillard through Virilio to Deleuze and Guattari, the essay explores ways in which the film's investment in vision and screens opens for a creative and enabling engagement with images - not cinema as truth, as Deleuze would have it, but the truth of cinema. As such, Tarantino's in many ways outrageous film provides an important contribution to analyzes of the relation between perceptions of the image and conceptions of the real and contributes to the politically crucial endeavor of understanding what images 'want.
Paul Elliott (2011) Hitchcock and the Cinema of Sensations: Embodied Film Theory and Cinematic Reception
No full textNora Gilbert (2013) Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship
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Christopher Pavsek (2013) The Utopia of Film: Cinema and its Futures in Godard, Kluge, and Tahimik
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The Permeable Self: A Theory of Cinematic Quotation
No full textThis essay seeks to define and conceptualize cinematic quotation against scholarship that positions the auteur as the locus of meaning for a given film, especially with respect to any intertextual references. By troubling a reliance on frameworks of pathological, singular control and revealing their inability to define the specific characteristics of quotation - beyond merely thinking of it as one form of allusion or intertextuality - this essay argues that an ontological friction is inherent to instances of cinematic quotation. By utilizing Jean-Luc Nancy's ontology, I am able to reveal the problematic nature of positing a singular, authorial voice in cinema or, more broadly, of assuming a singular subject at all. What is at stake in instances of cinematic quotation, as this essay shows, is the revelation that our being cannot be thought of in singular terms because we are always already both singular and plural, despite our attempts to escape such knowledge
