Chaoid cinema: Deleuze and Guattari and the topological vector of silence
A Deleuzian analysis of the role of silence as chaotic interstice in sound filmApplies Deleuze and Guattari's Chaoids to cinema for the first timeUses case studies from world cinemas - Iran, Brazil, France, UK, U.S.A., Germany - to explore different philosophical, cultural and historical contex...
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| Format: | Buch |
| Sprache: | English |
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Edinburgh
Edinburgh University Press
[2021]
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| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | A Deleuzian analysis of the role of silence as chaotic interstice in sound filmApplies Deleuze and Guattari's Chaoids to cinema for the first timeUses case studies from world cinemas - Iran, Brazil, France, UK, U.S.A., Germany - to explore different philosophical, cultural and historical contextsBrings together Film-Philosophy, Comparative Literature (Lettrism, Iranian poetry, Joyce and Ponge), Film History and radical movements from the 1960s and '70sExpanding on a burgeoning area in contemporary film studies that explores visual and aural absences and interstices in film narrative, this book explores silences in the soundtrack - not ambient silence or so-called 'room tone' but complete sound drop-outs, as if the film projector had broken down, thereby jolting the audience out of their passive relationship to the screen, forcing them to become aware of their surroundings and the material apparatus of film as a mechanical device.Drawing on Deleuze and Guattari's concept of Chaoids, which are various organizations of chaos through the different disciplines of science, philosophy and art, this book uses silence to pursue a variety of vectors that open up the surface plane of art (in this case cinema) to discover different philosophical (and by extension, political) singularities and multiplicities. |
| Beschreibung: | viii, 367 Seiten Illustrationen 25 cm |
| ISBN: | 1474494021 9781474494021 |
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| 520 | |a A Deleuzian analysis of the role of silence as chaotic interstice in sound filmApplies Deleuze and Guattari's Chaoids to cinema for the first timeUses case studies from world cinemas - Iran, Brazil, France, UK, U.S.A., Germany - to explore different philosophical, cultural and historical contextsBrings together Film-Philosophy, Comparative Literature (Lettrism, Iranian poetry, Joyce and Ponge), Film History and radical movements from the 1960s and '70sExpanding on a burgeoning area in contemporary film studies that explores visual and aural absences and interstices in film narrative, this book explores silences in the soundtrack - not ambient silence or so-called 'room tone' but complete sound drop-outs, as if the film projector had broken down, thereby jolting the audience out of their passive relationship to the screen, forcing them to become aware of their surroundings and the material apparatus of film as a mechanical device.Drawing on Deleuze and Guattari's concept of Chaoids, which are various organizations of chaos through the different disciplines of science, philosophy and art, this book uses silence to pursue a variety of vectors that open up the surface plane of art (in this case cinema) to discover different philosophical (and by extension, political) singularities and multiplicities. | ||
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Datensatz im Suchindex
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Contents vii Acknowledgements Introduction - ‘Stratigraphic Silence’: Chaoid Cinema and its Centripetal/Centrifugal Functions 1. 2. 3. 4. 5. 6. 1 ‘The Multiplicity is Among Us’: Silence and the Machinie Phylum in Fritz Lang’s Μ ( 1931 ) 22 Ecosophical Chaoids: Towards an ‘Infinite Cinema’ with Hollis Frampton’s Zorns Lemma (1970) and Gloria! (1979) 54 ‘There is No Film. Let Us Proceed to the Debates!’: Immanence as ‘Syncinema’ in Maurice Lemaitre’s Le film est déjà commencé? (1951) and Guy Debord’s Hurlements en faveur de Sade (1952) The Children of Barthes and Paris Match՛. Godard, Prostitution and the Rhetoric of the Image 74 102 ‘Tricontinental Tropicalism’: The Convulsive Carnival of a Syncretic Populism in Glauber Rocha’s Terra em Transe (1967), Der Leone Have Sept Cabeças (1970) and A Idada da Terra (1980) ‘See You at Mao’: the ’60s Left Returns to Zero with the Dziga Vertov Group 149 188 7. Silencing Interpellation: Gorin, Althusser and the Ideological State Apparatus 227 8. ‘We’re Projectorists!’: Concrete Duration and the Spectacle of Attractions in Malcolrn Le Grice’s Little Dog for Roger (1967), Threshold (1972) and After Lumiere - L'Arroseur Arrosé (1974) 263 On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami’s Chorus (1982), Homework (1989) and Close-Up (1990) 283 9.
vi CHAOID CINEMA Conclusion - ‘The Abyss Also Looks Into You’: From Syncinema to ‘Sin’ Cinema in Mike Figgis’s Leaving Las Vegas (1995) and Harmony Korine’s Trash Hampers (2009) 318 Bibliography 334 Index 352 |
| adam_txt |
Contents vii Acknowledgements Introduction - ‘Stratigraphic Silence’: Chaoid Cinema and its Centripetal/Centrifugal Functions 1. 2. 3. 4. 5. 6. 1 ‘The Multiplicity is Among Us’: Silence and the Machinie Phylum in Fritz Lang’s Μ ( 1931 ) 22 Ecosophical Chaoids: Towards an ‘Infinite Cinema’ with Hollis Frampton’s Zorns Lemma (1970) and Gloria! (1979) 54 ‘There is No Film. Let Us Proceed to the Debates!’: Immanence as ‘Syncinema’ in Maurice Lemaitre’s Le film est déjà commencé? (1951) and Guy Debord’s Hurlements en faveur de Sade (1952) The Children of Barthes and Paris Match՛. Godard, Prostitution and the Rhetoric of the Image 74 102 ‘Tricontinental Tropicalism’: The Convulsive Carnival of a Syncretic Populism in Glauber Rocha’s Terra em Transe (1967), Der Leone Have Sept Cabeças (1970) and A Idada da Terra (1980) ‘See You at Mao’: the ’60s Left Returns to Zero with the Dziga Vertov Group 149 188 7. Silencing Interpellation: Gorin, Althusser and the Ideological State Apparatus 227 8. ‘We’re Projectorists!’: Concrete Duration and the Spectacle of Attractions in Malcolrn Le Grice’s Little Dog for Roger (1967), Threshold (1972) and After Lumiere - L'Arroseur Arrosé (1974) 263 On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami’s Chorus (1982), Homework (1989) and Close-Up (1990) 283 9.
vi CHAOID CINEMA Conclusion - ‘The Abyss Also Looks Into You’: From Syncinema to ‘Sin’ Cinema in Mike Figgis’s Leaving Las Vegas (1995) and Harmony Korine’s Trash Hampers (2009) 318 Bibliography 334 Index 352 |
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| spelling | Gardner, Colin 1952- Verfasser (DE-588)103061170X aut Chaoid cinema Deleuze and Guattari and the topological vector of silence Colin Gardner Edinburgh Edinburgh University Press [2021] viii, 367 Seiten Illustrationen 25 cm txt rdacontent n rdamedia nc rdacarrier A Deleuzian analysis of the role of silence as chaotic interstice in sound filmApplies Deleuze and Guattari's Chaoids to cinema for the first timeUses case studies from world cinemas - Iran, Brazil, France, UK, U.S.A., Germany - to explore different philosophical, cultural and historical contextsBrings together Film-Philosophy, Comparative Literature (Lettrism, Iranian poetry, Joyce and Ponge), Film History and radical movements from the 1960s and '70sExpanding on a burgeoning area in contemporary film studies that explores visual and aural absences and interstices in film narrative, this book explores silences in the soundtrack - not ambient silence or so-called 'room tone' but complete sound drop-outs, as if the film projector had broken down, thereby jolting the audience out of their passive relationship to the screen, forcing them to become aware of their surroundings and the material apparatus of film as a mechanical device.Drawing on Deleuze and Guattari's concept of Chaoids, which are various organizations of chaos through the different disciplines of science, philosophy and art, this book uses silence to pursue a variety of vectors that open up the surface plane of art (in this case cinema) to discover different philosophical (and by extension, political) singularities and multiplicities. Guattari, Félix 1930-1992 (DE-588)118543113 gnd rswk-swf Deleuze, Gilles 1925-1995 (DE-588)118524534 gnd rswk-swf Deleuze, Gilles / 1925-1995 Guattari, Félix / 1930-1992 Silence in motion pictures Motion pictures / History Psychoanalysis and motion pictures Motion pictures History Deleuze, Gilles 1925-1995 (DE-588)118524534 p Guattari, Félix 1930-1992 (DE-588)118543113 p DE-604 Erscheint auch als Online-Ausgabe, PDF 978-1-4744-9404-5 Erscheint auch als Online-Ausgabe, EPUB 978-1-4744-9405-2 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033243886&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Chaoid cinema Deleuze and Guattari and the topological vector of silence |
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| title_full | Chaoid cinema Deleuze and Guattari and the topological vector of silence Colin Gardner |
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