
Gilles Deleuze’s Time Machine
English · Duke University Press · 1997
ISBN PB 9780822319702 · HB 9780822319627 · eBook 9780822396871Verify editionCore question
How do the two Cinema books construct a philosophical machine of time, signs, subjectivity, and truth from a vast archive of auteurs and films? What condition of thought changes in the passage from movement-image to time-image?
Argument
Rodowick folds three decades of Deleuze's philosophy of time into the Cinema books' internal architecture. Commensurable intervals sustain action and the model of truth, whereas irrational cuts place incompatible images in direct contact; the subject emerges as delayed response within the matter-image universe and is then carried into coexisting pasts, forking presents, and series of falsifiers. Taxonomy becomes a genesis of how images produce thought.
Argument structure
Commensurable intervals and irrational cuts run through the book. The genesis of movement, subject, and sign leads into transformations of time, truth, and thought; ethics and world concern how the subject lives through those transformations. This argument connects the Cinema books' taxonomy with Deleuze's philosophy of time.
