The intensive-image in Deleuze's film-philosophy:
Introduces the concept of the intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic imageThe book develops the original concept of the intensive-image in order to open up a new and important understanding of the part played by intensi...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2023]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Zusammenfassung: | Introduces the concept of the intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic imageThe book develops the original concept of the intensive-image in order to open up a new and important understanding of the part played by intensity in the history of the cinematic imageEscobar explore the significance of the notion of intensity in Deleuze's philosophy and the ways it can be used to think about cinematic intensity as suchThe focus on the intensive-image inspires readers to reconsider Deleuze's classification of cinema into two periods and two main types of imagesThe general argument is that the intensive-image breaks up Deleuze's divide between classical and modern periods as well as linking these two periods to contemporary cinema through its own unique propertiesThis book argues that the intensive-image constitutes an important cinematic category that prompts a rethinking of Deleuze's taxonomy of images in his Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Escobar explores the proposition that the notion of intensity has the potential to change the way in which we think about Deleuze's classification of films as signifying two separate periods, the classical period of the movement-image and the modern period of the time-image, thereby bringing them together and overcoming the separation that the philosopher creates. This book also explores the ways in which the intensive-image varies and differentiates itself from other images and the role it plays in contemporary cinema. |
| Beschreibung: | ix, 204 Seiten |
| ISBN: | 9781399517539 |
Internformat
MARC
| LEADER | 00000nam a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV049521833 | ||
| 003 | DE-604 | ||
| 005 | 20240513 | ||
| 007 | t | ||
| 008 | 240129s2023 |||| 00||| eng d | ||
| 020 | |a 9781399517539 |c hardback |9 978-1-3995-1753-9 | ||
| 035 | |a (OCoLC)1395158955 | ||
| 035 | |a (DE-599)BVBBV049521833 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-355 | ||
| 082 | 0 | |a 791.4301 |2 23 | |
| 084 | |a AP 45000 |0 (DE-625)7518: |2 rvk | ||
| 100 | 1 | |a Escobar, Cristóbal |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a The intensive-image in Deleuze's film-philosophy |c Cristóbal Escobar |
| 264 | 1 | |a Edinburgh |b Edinburgh University Press |c [2023] | |
| 300 | |a ix, 204 Seiten | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 520 | |a Introduces the concept of the intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic imageThe book develops the original concept of the intensive-image in order to open up a new and important understanding of the part played by intensity in the history of the cinematic imageEscobar explore the significance of the notion of intensity in Deleuze's philosophy and the ways it can be used to think about cinematic intensity as suchThe focus on the intensive-image inspires readers to reconsider Deleuze's classification of cinema into two periods and two main types of imagesThe general argument is that the intensive-image breaks up Deleuze's divide between classical and modern periods as well as linking these two periods to contemporary cinema through its own unique propertiesThis book argues that the intensive-image constitutes an important cinematic category that prompts a rethinking of Deleuze's taxonomy of images in his Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Escobar explores the proposition that the notion of intensity has the potential to change the way in which we think about Deleuze's classification of films as signifying two separate periods, the classical period of the movement-image and the modern period of the time-image, thereby bringing them together and overcoming the separation that the philosopher creates. This book also explores the ways in which the intensive-image varies and differentiates itself from other images and the role it plays in contemporary cinema. | ||
| 650 | 4 | |a Film, Media & Cultural Studies | |
| 650 | 7 | |a PERFORMING ARTS / Film & Video / History & Criticism |2 bisacsh | |
| 650 | 4 | |a Image (Philosophy) | |
| 650 | 4 | |a Motion pictures |x Philosophy | |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe, webready PDF |z 978-1-3995-1755-3 |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe, EPUB |z 978-1-3995-1756-0 |
| 856 | 4 | 2 | |m Digitalisierung UB Regensburg - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034867670&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung UB Regensburg - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034867670&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Klappentext |
Datensatz im Suchindex
| _version_ | 1805071291738226688 |
|---|---|
| adam_text |
Contents Acknowledgements viii Introduction: Difference of Intensities (Difference is Intensity) Towards a Theory of the Intensive-Image On the Notion of (Cinematic) Intensity Deren, Pasolini, Ruiz and the Poetics of the Intensive-Image The Combinatorial Potential of the Intensive-Image The Shape of the Book 1 2 9 14 18 20 SECTION ONE: RE-THINKING DELEUZE’S FILM-PHILOSOPHY 1. Towards the Intensification of the Cinema The Movement-Image·. A Solid Cinematic Form The Time-Image: A Liquid Cinematic Form The Frame Intensified: A Gaseous Passage in Pedro Costa’s Colossal Youth 27 31 40 44 2. Luis BunuePs Nomadic Vision: Departures from an Originary World ' 53 Deleuze’s Reading of Bunuel: An Idiosyncratic Surrealist The Intensive-Image: A Descendant from Aby Warburg’s Mnemosyne Atlas Los olvidadosy or The Forgotten Ones of Deleuze's Neorealist Act Bunuel’s (Slit) Eye: The Mirror to Deleuze’s ‘Soul of the Cinema’ 3. Human Infancy and the Language of Beginnings: The Wild Child and The Enigma ofKaspar Hauser Childhood: An Early Field of Intensities 55 60 62 64 72 75
VI THE INTENSIVE-IMAGE IN DELEUZE’S FILM-PHILOSOPHY Truffaut’s Enfants Terribles The Reversibility of Truffaut’s Face: Looking at and through the Window in The Wild Child But What is to Become? Herzog’s Kaspar: A Man of Beginnings A Classical/Modern Continuum: Origin qua Originality 4. In Between Modernities and the Contemporaneous Modernity 1. The Age of Reason and the Emergence of the Subject Modernity 2. The Age of Art and the Fracture of the T, or the Inhumanity of Deleuze's Cinema El Sueiio de la Razon Produce Monstruos The Intensive-Image and the Idea of the Contemporaneous 80 82 84 87 89 92 96 98 101 105 SECTION TWO: THE POLITICS AND POETICS OF THE INTENSIVE-IMAGE IN CONTEMPORARY CINEMA 5. Resistance in The Lobster. Mapping an Intensive-Image in Contemporary Popular Film 117 The Hotel: A Coercive-Administrative Ensemble 120 The Internal Resonance of Resistance: A Case for the Intensive-Image 125 The External Resonance of Resistance: Tactics, Pass-Words, Counter-Attacks . . . 128 What You Hear Above AU is Loving: The Forest, the City and the Two Mari time Lovers 131 6. Zama and the Method of Dramatisation: From Di Benedetto’s Novel to Martel’s Film 139 First Drama: From Di Benedetto’s Novel to Martel’s Film 143 Second Drama, or the Drama of Deleuze’s Cinema(s): From One Level of Intensity to Another Level of Intensity 153 Third Drama: Intensification Passes Through the Body of Zama 158 7. What do Animals Teach Us About Intensity? On Sweetgrass and SEL’s Bodily Praxis 163 In Search of the Body. Philosophical and Artistic Strategies in Re-Thinking the Status of the
Animal 165 Sweetgrass and the ‘Becoming-Sheeple’ 172
CONTENTS VÜ Conclusion: The Passion of Intensity Postscript 177 184 Bibliography Index 185 200
The Intensive-Image in Deleuze's Film-Philosophy takes an important category from Deleuze’s philosophy - the notion of intensity - and explores its background in the context of philosophical ideas about cinematic intensity, the philosophy of difference and thermodynamics. Escobar argues that the notion of intensity has the potential to change the way in which we think about Deleuze's classification of films as signifying two separate periods, the classical period of the movement-image and the modern period of the time-image, by bringing them together and overcoming the separation that Deleuze's film taxonomy creates.This book also discusses ways in which the intensive-image varies and differentiates itself from other images and the role it plays in contemporary cinema. CRISTOBAL ESCOBAR is a Lecturer in Screen Studies at the University of Melbourne, Film Programmer at FIDOCS and Co-Founder of the Screening Ideas program. |
| adam_txt |
Contents Acknowledgements viii Introduction: Difference of Intensities (Difference is Intensity) Towards a Theory of the Intensive-Image On the Notion of (Cinematic) Intensity Deren, Pasolini, Ruiz and the Poetics of the Intensive-Image The Combinatorial Potential of the Intensive-Image The Shape of the Book 1 2 9 14 18 20 SECTION ONE: RE-THINKING DELEUZE’S FILM-PHILOSOPHY 1. Towards the Intensification of the Cinema The Movement-Image·. A Solid Cinematic Form The Time-Image: A Liquid Cinematic Form The Frame Intensified: A Gaseous Passage in Pedro Costa’s Colossal Youth 27 31 40 44 2. Luis BunuePs Nomadic Vision: Departures from an Originary World ' 53 Deleuze’s Reading of Bunuel: An Idiosyncratic Surrealist The Intensive-Image: A Descendant from Aby Warburg’s Mnemosyne Atlas Los olvidadosy or The Forgotten Ones of Deleuze's Neorealist Act Bunuel’s (Slit) Eye: The Mirror to Deleuze’s ‘Soul of the Cinema’ 3. Human Infancy and the Language of Beginnings: The Wild Child and The Enigma ofKaspar Hauser Childhood: An Early Field of Intensities 55 60 62 64 72 75
VI THE INTENSIVE-IMAGE IN DELEUZE’S FILM-PHILOSOPHY Truffaut’s Enfants Terribles The Reversibility of Truffaut’s Face: Looking at and through the Window in The Wild Child But What is to Become? Herzog’s Kaspar: A Man of Beginnings A Classical/Modern Continuum: Origin qua Originality 4. In Between Modernities and the Contemporaneous Modernity 1. The Age of Reason and the Emergence of the Subject Modernity 2. The Age of Art and the Fracture of the T, or the Inhumanity of Deleuze's Cinema El Sueiio de la Razon Produce Monstruos The Intensive-Image and the Idea of the Contemporaneous 80 82 84 87 89 92 96 98 101 105 SECTION TWO: THE POLITICS AND POETICS OF THE INTENSIVE-IMAGE IN CONTEMPORARY CINEMA 5. Resistance in The Lobster. Mapping an Intensive-Image in Contemporary Popular Film 117 The Hotel: A Coercive-Administrative Ensemble 120 The Internal Resonance of Resistance: A Case for the Intensive-Image 125 The External Resonance of Resistance: Tactics, Pass-Words, Counter-Attacks . . . 128 What You Hear Above AU is Loving: The Forest, the City and the Two Mari time Lovers 131 6. Zama and the Method of Dramatisation: From Di Benedetto’s Novel to Martel’s Film 139 First Drama: From Di Benedetto’s Novel to Martel’s Film 143 Second Drama, or the Drama of Deleuze’s Cinema(s): From One Level of Intensity to Another Level of Intensity 153 Third Drama: Intensification Passes Through the Body of Zama 158 7. What do Animals Teach Us About Intensity? On Sweetgrass and SEL’s Bodily Praxis 163 In Search of the Body. Philosophical and Artistic Strategies in Re-Thinking the Status of the
Animal 165 Sweetgrass and the ‘Becoming-Sheeple’ 172
CONTENTS VÜ Conclusion: The Passion of Intensity Postscript 177 184 Bibliography Index 185 200
The Intensive-Image in Deleuze's Film-Philosophy takes an important category from Deleuze’s philosophy - the notion of intensity - and explores its background in the context of philosophical ideas about cinematic intensity, the philosophy of difference and thermodynamics. Escobar argues that the notion of intensity has the potential to change the way in which we think about Deleuze's classification of films as signifying two separate periods, the classical period of the movement-image and the modern period of the time-image, by bringing them together and overcoming the separation that Deleuze's film taxonomy creates.This book also discusses ways in which the intensive-image varies and differentiates itself from other images and the role it plays in contemporary cinema. CRISTOBAL ESCOBAR is a Lecturer in Screen Studies at the University of Melbourne, Film Programmer at FIDOCS and Co-Founder of the Screening Ideas program. |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Escobar, Cristóbal |
| author_facet | Escobar, Cristóbal |
| author_role | aut |
| author_sort | Escobar, Cristóbal |
| author_variant | c e ce |
| building | Verbundindex |
| bvnumber | BV049521833 |
| classification_rvk | AP 45000 |
| ctrlnum | (OCoLC)1395158955 (DE-599)BVBBV049521833 |
| dewey-full | 791.4301 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.4301 |
| dewey-search | 791.4301 |
| dewey-sort | 3791.4301 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| discipline_str_mv | Allgemeines |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000nam a2200000zc 4500</leader><controlfield tag="001">BV049521833</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20240513</controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">240129s2023 |||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781399517539</subfield><subfield code="c">hardback</subfield><subfield code="9">978-1-3995-1753-9</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1395158955</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV049521833</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-355</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">791.4301</subfield><subfield code="2">23</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">AP 45000</subfield><subfield code="0">(DE-625)7518:</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Escobar, Cristóbal</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">The intensive-image in Deleuze's film-philosophy</subfield><subfield code="c">Cristóbal Escobar</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Edinburgh</subfield><subfield code="b">Edinburgh University Press</subfield><subfield code="c">[2023]</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">ix, 204 Seiten</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Introduces the concept of the intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic imageThe book develops the original concept of the intensive-image in order to open up a new and important understanding of the part played by intensity in the history of the cinematic imageEscobar explore the significance of the notion of intensity in Deleuze's philosophy and the ways it can be used to think about cinematic intensity as suchThe focus on the intensive-image inspires readers to reconsider Deleuze's classification of cinema into two periods and two main types of imagesThe general argument is that the intensive-image breaks up Deleuze's divide between classical and modern periods as well as linking these two periods to contemporary cinema through its own unique propertiesThis book argues that the intensive-image constitutes an important cinematic category that prompts a rethinking of Deleuze's taxonomy of images in his Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Escobar explores the proposition that the notion of intensity has the potential to change the way in which we think about Deleuze's classification of films as signifying two separate periods, the classical period of the movement-image and the modern period of the time-image, thereby bringing them together and overcoming the separation that the philosopher creates. This book also explores the ways in which the intensive-image varies and differentiates itself from other images and the role it plays in contemporary cinema.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Film, Media & Cultural Studies</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS / Film & Video / History & Criticism</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Image (Philosophy)</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Motion pictures</subfield><subfield code="x">Philosophy</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Erscheint auch als</subfield><subfield code="n">Online-Ausgabe, webready PDF</subfield><subfield code="z">978-1-3995-1755-3</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Erscheint auch als</subfield><subfield code="n">Online-Ausgabe, EPUB</subfield><subfield code="z">978-1-3995-1756-0</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung UB Regensburg - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034867670&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung UB Regensburg - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034867670&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Klappentext</subfield></datafield></record></collection> |
| id | DE-604.BV049521833 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T23:25:11Z |
| indexdate | 2024-07-20T04:35:29Z |
| institution | BVB |
| isbn | 9781399517539 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034867670 |
| oclc_num | 1395158955 |
| open_access_boolean | |
| owner | DE-355 DE-BY-UBR |
| owner_facet | DE-355 DE-BY-UBR |
| physical | ix, 204 Seiten |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Edinburgh University Press |
| record_format | marc |
| spelling | Escobar, Cristóbal Verfasser aut The intensive-image in Deleuze's film-philosophy Cristóbal Escobar Edinburgh Edinburgh University Press [2023] ix, 204 Seiten txt rdacontent n rdamedia nc rdacarrier Introduces the concept of the intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic imageThe book develops the original concept of the intensive-image in order to open up a new and important understanding of the part played by intensity in the history of the cinematic imageEscobar explore the significance of the notion of intensity in Deleuze's philosophy and the ways it can be used to think about cinematic intensity as suchThe focus on the intensive-image inspires readers to reconsider Deleuze's classification of cinema into two periods and two main types of imagesThe general argument is that the intensive-image breaks up Deleuze's divide between classical and modern periods as well as linking these two periods to contemporary cinema through its own unique propertiesThis book argues that the intensive-image constitutes an important cinematic category that prompts a rethinking of Deleuze's taxonomy of images in his Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Escobar explores the proposition that the notion of intensity has the potential to change the way in which we think about Deleuze's classification of films as signifying two separate periods, the classical period of the movement-image and the modern period of the time-image, thereby bringing them together and overcoming the separation that the philosopher creates. This book also explores the ways in which the intensive-image varies and differentiates itself from other images and the role it plays in contemporary cinema. Film, Media & Cultural Studies PERFORMING ARTS / Film & Video / History & Criticism bisacsh Image (Philosophy) Motion pictures Philosophy Erscheint auch als Online-Ausgabe, webready PDF 978-1-3995-1755-3 Erscheint auch als Online-Ausgabe, EPUB 978-1-3995-1756-0 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=034867670&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 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=034867670&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Escobar, Cristóbal The intensive-image in Deleuze's film-philosophy Film, Media & Cultural Studies PERFORMING ARTS / Film & Video / History & Criticism bisacsh Image (Philosophy) Motion pictures Philosophy |
| title | The intensive-image in Deleuze's film-philosophy |
| title_auth | The intensive-image in Deleuze's film-philosophy |
| title_exact_search | The intensive-image in Deleuze's film-philosophy |
| title_exact_search_txtP | The intensive-image in Deleuze's film-philosophy |
| title_full | The intensive-image in Deleuze's film-philosophy Cristóbal Escobar |
| title_fullStr | The intensive-image in Deleuze's film-philosophy Cristóbal Escobar |
| title_full_unstemmed | The intensive-image in Deleuze's film-philosophy Cristóbal Escobar |
| title_short | The intensive-image in Deleuze's film-philosophy |
| title_sort | the intensive image in deleuze s film philosophy |
| topic | Film, Media & Cultural Studies PERFORMING ARTS / Film & Video / History & Criticism bisacsh Image (Philosophy) Motion pictures Philosophy |
| topic_facet | Film, Media & Cultural Studies PERFORMING ARTS / Film & Video / History & Criticism Image (Philosophy) Motion pictures Philosophy |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034867670&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034867670&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT escobarcristobal theintensiveimageindeleuzesfilmphilosophy |