Is 1945 a rupture or a model?
Postwar Europe is a crucial constellation within the time-image’s multiple global sites of emergence.
SCHOLARS / WORKS / DEBATES
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75 scholars and 99 work titles: search names, books, or research questions, then follow links to book guides, concepts, and film analyses.
75scholars
99work titles
41scholars with works linked to the bibliography
A
SEVEN OPEN DEBATES
Seven open debates
Replacement or coexistence?
The time-image reverses the subordination of time to movement; both regimes persist and can shift locally within one film.
How can the field de-centre Europe?
World cinemas de-centre the field by modifying the taxonomy itself.
Taxonomy or generator?
Fixed labels invite mere example-hunting; an open taxonomy requires new concepts to transform existing relations and explain across cases.
Does the digital require a Cinema 3?
The neuro-image, no-time-image, and interface theories test the boundary, but no third regime has achieved consensus.
How does temporal rupture become political?
Test non-linearity through rights to see, the distribution of waiting, and ownership of the past; its effects can include nostalgia, trauma markets, control, or paralysis.
How do we use Deleuze precisely?
Test four layers: sensory-motor relation, actual/virtual circuit, audio-visual connection, and regime of truth.
B
PEOPLE / WORKS / RESEARCH ENTRIES
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75 scholars · 24 shown
01
System & semioticsD. N. Rodowick
Reconstructs the Cinema books as a time machine of signs, time, truth, and thought, extending the inquiry toward the ethico-political relation between world and time in audiovisual culture.
Publisher work record02
System & semioticsRonald Bogue
Offers one of the clearest guides to Deleuze’s taxonomy of cinematic signs and connects the time-image to the ethical problem of restoring belief in this world.
03
System & semioticsPaola Marrati
Rejects the reduction of films to illustrations of philosophy, arguing that cinema independently creates problems of time and subjectivity that compel philosophy to invent concepts.
04
Field-building & interdisciplinaryGregory Flaxman
Consolidated the early English-language field through The Brain Is the Screen and foregrounded the immanent relation among image, screen, brain, and thought.
05
System & semioticsDavid Deamer
Reconstructs the complete taxonomy through cineosis and proposes the three passive syntheses of time as a generative account of nine time-image signs.
Publisher work record06
System & semioticsFelicity Colman
Uses ciné-system, TransSemiotics, and ciné-ethics to turn taxonomy into an open relational system generated across bodies, technologies, sound, space, and affect.
07
System & semioticsDaniela Angelucci
Reads the transition as a move from organic totality to gaps, fractures, and the impossibility of thought, keeping philosophy in close contact with films.
08
History, politics & world cinemasJacques Rancière
Mounts the strongest challenge to mapping movement-image and time-image onto two epochs divided by 1945, prompting later accounts in terms of tendencies, polarities, and analytical regimes.
09
History, politics & world cinemasDavid Martin-Jones
De-centres Europe through national and world cinemas, allowing films from Hong Kong, India, Korea, Argentina, Iran, and elsewhere to modify the taxonomy.
10
History, politics & world cinemasWilliam Brown
Argues that there are as many routes to the time-image as there are films, opening the concept to religion, genre hybridity, digital bodies, and local aesthetics while exposing the risk of over-expansion.
- Deleuze and Film
- Supercinema
11
History, politics & world cinemasRichard Rushton
Emphasizes the persistence of the movement-image in modern and contemporary cinema, shifting the field from historical replacement to coexistence, mixture, and local transformation.
12
History, politics & world cinemasCristóbal Escobar
Proposes the intensive-image to connect movement, time, body, sound, and space, contesting a rigid assignment of classical and modern cinema to separate regimes.
Publisher work record13
Body, affect & sensesBarbara M. Kennedy
Develops an aesthetics of sensation in which colour, rhythm, movement, desire, and molecular bodies make time felt as bodily tension and intensity.
14
Body, affect & sensesLaura U. Marks
Develops haptic visuality, extending the past in intercultural and diasporic cinema from mental memory to skin, food, fabric, sound, and multisensory embodiment.
Publisher work record15
Body, affect & sensesAnna Powell
Studies dreams, hallucination, trance, ecstasy, and altered states through the states that sound, colour, and rhythm induce in viewers.
16
Body, affect & sensesAmy Herzog
Reads musical moments as temporal interruptions that reorganize space, body, and history, and tests how interruption can reproduce gendered, racial, and class conventions.
17
Body, affect & sensesElena del Río
Uses performance and affect to show sensory-motor crises within American genre cinema, challenging the confinement of the time-image to European art film.
18
Body, affect & sensesPatricia MacCormack
Develops cinemasochism as an ethics of relinquishing interpretive mastery and allowing cinematic intensities to traverse the body, making passivity a condition of perceptual reorganization.
- Cinemasochism
19
Body, affect & sensesDamian Sutton
Extends the crystal-image to photography, opening the photograph’s frozen past to virtual futures and depths of recollection.
20
Body, affect & sensesMalin Wahlberg
Brings time into documentary, archives, and social memory, examining how waiting, retrospection, archival recomposition, and sound relations construct nonfictional time.
21
Digital, interface & post-cinemaPatricia Pisters
Proposes the neuro-image: viewers move through brains, networked memories, and informational landscapes.
Publisher work record22
Digital, interface & post-cinemaSergi Sánchez
Proposes the no-time-image, reading digital media’s wish to resist fading, wear, ageing, and material death as a negative illumination of the time-image’s materiality.
23
Digital, interface & post-cinemaDavid H. Fleming
Uses the digital human assemblage to study how effects fork bodily age, identity, and temporal direction, turning bodies into continuously rewritable data composites.
- Unbecoming Cinema
24
Digital, interface & post-cinemaSeung-hoon Jeong
Uses the quasi-interface to locate crystalline relations in screens-within-screens, digital surfaces, object networks, and layered interfaces beyond mirror imagery.
- Cinematic Interfaces
Stable links to 51 additional records
Timothy MurrayGarrett StewartSusana ViegasLucas Ferraço NassifMarco GrosoliVasco Baptista Marques徐辉 / Xu Hui杨凯麟 / Yang Kailin姜宇辉 / Jiang Yuhui汪民安 / Wang Min’anSteven ShaviroAndrás Bálint KovácsAngelo RestivoDorothea OlkowskiDudley AndrewFrançois ZourabichviliGiuliana BrunoGregg LambertIan BuchananJames K. ChandlerJean-Clet MartinJohn RajchmanMarie-Claire Ropars-WuilleumierMarkos HadjioannouMartin SchwabMelinda SzalokyPeter CanningRaymond BellourSerazer PekermanTom ConleyÉric AlliezJorge VasconcellosDork ZabunyanPierre MontebelloSerge CardinalSuzanne Hême de LacotteTeresa RizzoKara KeelingAllan James ThomasNadine BoljkovacAlanna ThainJakob NilssonTimothy Deane-FreemanRoger DawkinsPablo Enrique Abraham ZuninoAndré ParenteKuniichi UnoTatsuya HigakiTatsuya KimuraKosaku TozawaJi-young Lee