Beckett, Deleuze and the Televisual Event: Peephole Art by C. Gardner PDF

By C. Gardner

An expressive discussion among Deleuze's philosophical writings on cinema and Beckett's cutting edge movie and tv paintings, the e-book explores the connection among the delivery of the development – itself a simultaneous invention and erasure - and Beckett's makes an attempt to create an incommensurable area in the interstices of language as a (W)hole.

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Extra info for Beckett, Deleuze and the Televisual Event: Peephole Art

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This is their main difference from Eisenstein’s fusion of thought with affect, for if thought depends on a shock which engenders it, it can still only think one basic thing, ‘the fact that we are not yet thinking, the powerlessness to think the whole and to think oneself, thought which is always fossilized, dislocated, collapsed’ (Deleuze, 1989, p. 167). Thought, in other words, as a pure event that is forever lost in the aporias of time. 2 Beyond Percept and Affect: Beckett’s Film (1964) and Non-Human Becoming Film, Samuel Beckett’s 1964 experimental short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal, albeit transitional, text in the latter’s overall cinematic taxonomy.

41). The key image of this liberated temporality in post-war cinema is what Deleuze calls the Crystal-Image or Hyalosign: ‘the uniting of an actual image and a virtual image to the point where they can no longer be distinguished’ (Deleuze, 1989, p. 335). Bergson calls this a fluctuation between ‘peaks of present’ and ‘sheets of past’, their only meeting place being the brain, or, in cinematic terms, the screen (the brain is the screen). The crystal-image is a fuller realization in cinema of the truly temporal nature of Bergson’s ontology, the chiasmic interchange between past and present, virtual and actual.

Deleuze equates the affection-image with two sites. Firstly, there is the close-up, which is associated largely with the face. When the moving body loses its motility and motor extension, it transfers movement into a state of pure expression and ‘It is this combination of a reflecting, immobile unity and of intensive expressive movements which constitutes the affect’ (Deleuze, 1986, p. 87). but the clouds... Secondly, affect manifests itself in the qualities and powers of the ‘any-space-whatever’.

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