Intensive-Image in Deleuze’s Film-Philosophy
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A01=Cristobal Escobar
Author_Cristobal Escobar
Category=ATFA
Cinema
Cinema 1: The Movement Image
Cinema 2: The Time-Image
Deleuze
Embodiment
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Film-philosophy
Gilles Deleuze
Intensity
poetry
politics
sensation
Product details
- ISBN 9781399517539
- Dimensions: 156 x 234mm
- Publication Date: 17 Oct 2023
- Publisher: Edinburgh University Press
- Publication City/Country: GB
- Product Form: Hardback
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Introduces the concept of the intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic image
The 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 image
Escobar 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 such
The focus on the intensive-image inspires readers to reconsider Deleuze's classification of cinema into two periods and two main types of images
The 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 properties
This 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.
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Cristóbal Escobar is a Lecturer in Screen Studies at the University of Melbourne, Film Programmer at FIDOCS and Co-Founder of the Screening Ideas program.
