Deleuze’s Struggle With Clichés, or a Couple of Words on Searching for Visibility in Cinema
Abstract
One of the central problems of Gilles Deleuze’s book devoted to cinematography are cliches that the French philosopher contrasts with real images. This distinction has a fundamental impact on Deleuze’s deliberations. Cliches understood as impoverished images represent broadly understood mainstream cinema, especially American cinema. The philosopher wants - as he expresses it - to snatch the images from cliches. In his mvestigations he finds such a possibility, among others, thanks to films by Antonioni. The research carried out by Deleuze seem to coincide with the contemporary trends in art cinema, which we might call the search for a new cinema. A special example of this is slow cinema, a trend in cinematography that seeks what Deleuze would call true visibility. This article is an attempt to apply Gilles Deleuze’s theory of cinema to the description of slow cinema and to show a specific - contemplative - attitude towards film image.
Keywords:
Gilles Deleuze, slow cinema, clichés, Michelangelo AntonioniReferences
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Authors
Adam Cichońkwartalnik.filmowy@ispan.pl
University of Warsaw Poland
Magister filozofii na Uniwersytecie Warszawskim (praca poświęcona teorii kina Gilles’a Deleuze’a w kontekście slow cinema). Obecnie student Kolegium Artes Liberales Uniwersytetu Warszawskiego. Zajmuje się zagadnieniami filozofii współczesnej oraz splotem filozofii z różnymi dziedzinami sztuki.
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