RESEARCH GUIDE · ATLAS CROSS-INDEX
Deleuze and Cinema: The Aesthetics of Sensation
How can cinematic experience shift from a model of the spectator interpreting a text to an event of sensation composed by matter, technology, brain, and body? How do colour, movement, and rhythm pass through conscious subjectivity while also acting on the body beyond it?
CORE QUESTION
How can cinematic experience shift from a model of the spectator interpreting a text to an event of sensation composed by matter, technology, brain, and body? How do colour, movement, and rhythm pass through conscious subjectivity while also acting on the body beyond it?
CONTRIBUTION
Kennedy joins Deleuzian desire, affect, becoming, and becoming-woman to poststructuralist feminist film theory, replacing an Oedipalized viewing subject with an aesthetics of sensation. Cinema becomes a material rupture and molecular assemblage: rhythm, colour, and movement actively recompose bodies and identities. Readings of Orlando, The English Patient, Romeo + Juliet, Strange Days, and Léon ground the framework in distinct sensory organizations.
READING ROUTE
First follow the theoretical movement from micropolitics and the critique of psychoanalysis through abstract machines, becoming, bodies, and sensation. Then enter the five film studies and mark how colour, movement, rhythm, and bodily position exceed narrative meaning. Return finally to the feminist problem: identify where molecular becoming loosens fixed identity and where it must reconnect with concrete gendered power.
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EDITIONS & ACCESS
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Deleuze and Cinema: The Aesthetics of Sensation
English · Edinburgh University Press · 2000
ISBN 9780748611348Verify original editionNo verifiable published translation was located in this review.
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The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.