Gilles Deleuze

The claims upon philosophy by the explosive consciousness of the fact and the art of cinema-not alone claims upon the philosophy of art but upon philosophical thinking at large, upon what is to be called thinking-are, still surprisingly to me, not something that has attracted the sustained attention of most philosophers. However intensely and consecutively and concretely I recognized these claims to be met with in the work of Gilles Deleuze, I had in several attempts over the years not been able to find my way into a convincing draw through the manner of it. The appearance of Paola Marrati's admiring and sustained attention to this thinking, placing and featuring Deleuze's principal volumes on cinema (it is essential to her view that these are indeed featured, in important ways climactically, in Deleuze's expansive body of work), changes the intellectual odds in this demanding challenge. I imagine that many others will also find education in Marrati's sophisticated and generous and clarifying articulation of Deleuze's educative venture over the entire constellation of the major cinema of the world, but I think no one could be more grateful to her achievement than I am. It is a relief to be in the presence of Deleuze's intellectual originality and Paola Marrati's meticulous responsiveness to it, free of the many fashionable repetitions in the field of film study (e.g., film is a language, film is unconscious of its ideological slants and economic drags), and to watch other of its slogans (e.g., film is a mass art, film is a producer of dreams, Hollywood never appreciated its geniuses), given surprising derivations that release a sequence of genii from their jarred formulas. -- Stanley Cavell, Walter M. Cabot Professor of Aesthetics and the General Theory of Value, Emeritus, Harvard University This is no doubt the best concise introduction to Deleuze available today, not only with respect to his ideas about cinema but also in its attentiveness to his philosophy and his approach to art. Written in a clear, compelling style that sacrifices nothing of the complexity and beauty of Deleuze's thought, Marrati's book carefully unfolds Deleuze's principle concepts relating to perception, time, image, affect, and belief. -- D. N. Rodowick, Harvard University, author of Gilles Deleuze's Time Machine

Humanities, film studies, and social science scholars will find this book a valuable contribution to the philosophical literature on cinema and its pertinence in contemporary life.In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of Cinema 1 and Cinema 2 in the corpus of his philosophy? How and why does Deleuze consider cinema as a singular object of philosophical attention, a specific mode of thought? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? How does it recode and utilize Henri Bergson's thought and Andre Bazin's film theory? What does it tell us about perceiving a world in images-indeed about our relation to the world? These are the central questions addressed in Paola Marrati's powerful and clear elucidation of Deleuze's philosophy of film. Humanities, film studies, and social science scholars will find this book a valuable contribution to the philosophical literature on cinema and its pertinence in contemporary life.