RESEARCH GUIDE · ATLAS CROSS-INDEX
Deleuze and Cinema: The Film Concepts
How can concepts from Deleuze's two Cinema books be used in screen analysis without reducing films to examples of terms? How do frame, cut, sign, time, politics, and thought compose an open cinematic system?
CORE QUESTION
How can concepts from Deleuze's two Cinema books be used in screen analysis without reducing films to examples of terms? How do frame, cut, sign, time, politics, and thought compose an open cinematic system?
CONTRIBUTION
Colman reconstructs film philosophy as a fourteen-step method beginning with the ciné-system. Movement, frame/shot/cut, montage, perception, affect, and action establish the base; TransSemiotics and the sign-vector address the production of meaning; time, politics, topology, and thought culminate in ciné-ethics. Taxonomy becomes a system whose relations are continually changed by bodies, technologies, sound, space, and power.
READING ROUTE
On the first pass, read sequentially: Chapters 1–7 establish the mechanical and sensory bases of images; Chapters 8–10 show how signs move across systems and produce time; Chapters 11–14 address politics, topology, thought, and ethics. On the second pass, work backward from one concrete shot: describe technical relations, name the sign, then judge what body, space, and power it changes. Use the book's glossary beside the atlas terminology glossary.
CONTINUE THROUGH THE ATLAS
Connect this book to concepts, chapters, films, and evidence
EDITIONS & ACCESS
Return from the argument to verifiable editions
Deleuze and Cinema: The Film Concepts
English · Berg · 2011
ISBN 9781847880536Verify 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.