DELEUZE AND CINEMA

From one image to another? Deleuze and film ages

The seventh chapter from the book La Fable cinématographique (Paris: Seuil, 2001), in which the French philosopher discusses Gilles Deleuze’s theories about the movement-image and the time-image, and about the detachment of the image from the »sensory-motoric« essence, which caused the crisis of the movement-image, the core of classical film, and the appearance of the modern(ist) time-image, the core of contemporary film, after the World War Two. Ranci#re, among other things, finds that examples for the two type of images are the same (Bresson is in the first volume used as an example for the movement-image, and in the second for the time-image), i.e. that the mentioned crisis happened because it suited Deleuze’s theories. In other words, Ranci#re interprets Deleuze’s philosophy within the scope of art modernism or what Ranci#re calls the aesthetic art regime.

Jacques Rancière