DELEUZE on the CINEMA

Abstract

The long philosophical experience since the beginning of the human history teaches us that any clear and solid reality finally escapes from our perspective. After the defiant experiment of the German idealism, we have lost sight of stable grounds for beings. During last one hundred years we have managed in vain to find any certified reality.

Gilles Deleuze, reflecting on our one hundred years failure, retook Bergson’s “image” ― as a distinct existence in the middle of a thing and a representation, and pointed out that a film was an expression of the “duré” penetrating this whole universe founded on the exchangeability among a matter, a movement and an image.

Although Deleuze’s “Cinema I & II”, rich in profound insights both aesthetic and filmic, classified systematically various images from the genuine philosophical point of view, the development of the time-image from the movement-image depended only on the film-historical or film-evolutional accounts. In this paper, we will show this incoherency in Deleuze’s thought which may due to the fact that Deleuze was too contemplative and forgot the material pleasures the film gives us.