RESEARCH GUIDE · ATLAS CROSS-INDEX
Deleuze and the Cinemas of Performance
Is screen performance merely the visible form of identity and narrative, or an affective force prior to meaning that can alter other bodies? How do gesture, speed, dance, and pause produce political relations?
CORE QUESTION
Is screen performance merely the visible form of identity and narrative, or an affective force prior to meaning that can alter other bodies? How do gesture, speed, dance, and pause produce political relations?
CONTRIBUTION
Del Río proposes an affective-performative cinema, using the Deleuze-Spinoza body, expression, and capacity to affect in place of performance theory's priority of visual form. Across films by Sirk, Fassbinder, Sally Potter, Claire Denis, and David Lynch, she analyses bodily movement, choreography, speed, and seduction, connecting these microforces to feminist politics. The body becomes an event that redistributes capacities within a scene.
READING ROUTE
Begin with the introduction and distinguish representational performance from performance that produces affect. Proceed through animated fetishes, choreographies of affect, dancing feminisms, kinesthetic seductions, and powers of the false. In each chapter, select one movement passage and record posture, speed, contact, and changes in capacity. At the conclusion, test whether politics comes from stated identity or is already composed through what bodies can do.
CONTINUE THROUGH THE ATLAS
Connect this book to concepts, chapters, films, and evidence
EDITIONS & ACCESS
Return from the argument to verifiable editions
Deleuze and the Cinemas of Performance: Powers of Affection
English · Edinburgh University Press · 2008
ISBN 9780748635252Verify original editionNo verifiable published translation was located in this review.
Purchase / subscription
The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.