Download Deleuze and the Cinemas of Performance: Powers of Affection by Elena del Rio PDF

By Elena del Rio

The acting physique privileges the thought of affective strength over the concept of visible shape, and Elena del Ri­o areas this on the heart of theories of spectacle and performativity. Drawing on Gilles Deleuze's philosophy of the physique, and on Deleuze-Spinoza's proper options of impact and expression, del Ri­o defines "affective-performative" cinema, the gains of which spread via particular discussions of the events, gestures, and speeds of the physique in numerous movies through Douglas Sirk, Rainer W. Fassbinder, Sally Potter, Claire Denis, and David Lynch. She grounds her research within the body's powers of love, proving the insufficiency of former theoretical ways in accounting for the transformative and inventive capacities of the relocating physique. Deleuze and the Cinemas of Performance will curiosity students and scholars operating with Deleuze, phenomenology, and feminism.

Show description

Read Online or Download Deleuze and the Cinemas of Performance: Powers of Affection PDF

Best film books

Kino and the Woman Question: Feminism and Soviet Silent Film

It is a examine of Soviet silent motion pictures by way of their realizing of the location of ladies inside socialist tradition. The argument is made that the illustration of girls in such movies subverted their ostensibly effortless ideological and cinematic objectives.

Taiwan Film Directors: A Treasure Island (Film and Culture)

Concentrating on the paintings of 4 modern filmmakers -- Ang Lee, Edward Yang, Hou Hsiao-hsien, and Tsai Ming-liang -- the authors discover how those filmmakers broke from culture, making a cinema that's either own and insistent on interpreting Taiwan's advanced historical past. that includes stills, anecdotes, and shut readings of movies, the authors ponder the impression of Hong Kong and martial arts motion pictures, directors' experiments with autobiography, the moving fortunes of the Taiwanese movie undefined, and Taiwan cinema within the context of foreign cinema's aesthetics and enterprise practices.

Emotional Structure: Creating the Story Beneath the Plot: A Guide for Screenwriters

Put up 12 months notice: First released January 1st 2006
-------------------------

The jump from proposal to ultimate draft is excellent, and the duty is stuffed with exertions and horrors. it truly is the following that the majority writers fight to get the plot correct on the price of the story's genuine energy. the result's a script that's logical in each means, but unmoving. Emotional constitution, through Emmy- and Peabody-Award profitable manufacturer, author, and instructor, Peter Dunne, is for those instances, whilst the plot suits properly into position like items in a puzzle, but an elemental, extraordinarily very important anything is still lacking.

How a Film Theory Got Lost and Other Mysteries in Cultural Studies

A set of 10 essays on various matters via the Florida movie and English professor. one of the themes are Elvis Presley, Edward Hopper, David Bordwell, Godard, and the author's personal rock band.

Extra info for Deleuze and the Cinemas of Performance: Powers of Affection

Example text

Accordingly, Sara Jane’s bodily actions are riveted not only by suspenseful uncertainty, but also by the kind of resourcefulness and inventiveness that arise therein.

This reinstates a rigid divide between the human and the nonhuman, since it has become a commonplace, after Lacan, to make language the special preserve of the human . . saying that nature is discursively constructed is not necessarily the same as saying that nature is in discourse . . for in either case, nature as naturing, nature as having its own dynamism, is erased. (Massumi 1996: 231) 9. As Vicki Kirby explains, [w]ord and flesh are utterly implicated, not because “flesh” is actually a word that mediates the fact of what is being referred to, but because the entity of a word, the identity of a sign, the system of language, and the domain of culture – none of these are autonomously enclosed upon themselves.

Communicational models of expression share many assumptions . . the interiority of individual life, its rationality . . the possibility of transparent transmission . . between the private and the public, and the notion that what is transmitted is fundamentally information. All of these assumptions have been severely tested by structuralist, poststructuralist, postmodern, and postpostmodern thought. Communication has long since fallen on hard times and with it, expression. (Massumi 2002a: xiii) Butler is no doubt one of the critics implied in Massumi’s comments.

Download PDF sample

Rated 4.07 of 5 – based on 17 votes

admin