In Search of Lost Time: The Prophetic Character of Gilles Deleuze’s Theory of Cinema
Abstract
The author juxtaposes the views of Gilles Deleuze, especially his idea of the cinema of image-time, with its contemporary realisations. The French philosopher did not live to see the revitalisation of modernist trends in the world art cinema, which he defined so well in relation to masterpieces of independent cinema of the 1960s and 1970s. Meanwhile, contemporary contemplative cinema (or neomodernist to use the term proposed by Rafał Syska) not only adopts creative strategies and aesthetic formulae typical for the cinema of image-time, but also develops and amplifies them. Passive Protagonist, the experience of duration, the exposure of mental states – these and other features necessary for the creation of image-time are in full bloom in films such as Alexander Sokurov’s Russian ark (Russkiy Kovcheg, 2002) or Bela Tarr’s Satan's tango (Sátántangó, 1994) which represent the best of Deleuzian cinema of image-time in contemporary cinema.
Keywords:
Gilles Deleuze, Alexander Sokurov, Béla TarrReferences
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Authors
Miłosz Stelmachkwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Absolwent filmoznawstwa na Uniwersytecie Jagiellońskim; doktorant w Instytucie Sztuk Audiowizualnych tamże.
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