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
Deleuze, Gilles. 2008. Kino. 1. Obraz-ruch. 2. Obraz-czas. Tłum. J. Margański. Gdańsk: słowo/obraz terytoria.
Google Scholar
Jakubowska, Małgorzata. 2003. Teoria kina Gillesa Deleuze’a. Filozoficzna diagnoza kultury wizualnej XX wieku. Kraków: Rabid.
Google Scholar
Kovács, András Bálint. 2007. Screening Modernism. European Art Cinema 1950-1980. Chicago – London. The University of Chicago Press.
DOI: https://doi.org/10.7208/chicago/9780226451664.001.0001
Google Scholar
Syska, Rafał. 2012. Neomodernizm. Kino w wolnym tempie. „Ekrany” 1-2.
Google Scholar
Tarkowski, Andriej. 2002. O rytmie, czasie i montażu. Tłum. S. Kuśmierczyk. W: A. Gwóźdź (red.). Europejskie manifesty kina. Od Matuszewskiego do Dogmy. Antologia. Warszawa: Wiedza Powszechna.
Google Scholar
Teodoro, José, Carlos Reygadas. „Silent Witness”: An Interview with Carlos Reygadas. „Cineaste”. http://www.cineaste.com/articles/emsilent-lightem-an-interview-with-carlos-reygadas.
Google Scholar
Authors
Miłosz Stelmachkwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Absolwent filmoznawstwa na Uniwersytecie Jagiellońskim; doktorant w Instytucie Sztuk Audiowizualnych tamże.
Statistics
Abstract views: 312PDF downloads: 158
License
Copyright (c) 2014 Miłosz Stelmach
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
Most read articles by the same author(s)
- Miłosz Stelmach, The Second Coming of Sound? Nagra Tape Recorder and the Evolution of Sound in Postclassical Cinema , Kwartalnik Filmowy: No. 113 (2021): Film and Technology
- Miłosz Stelmach, All You Can’t See: The Long Tail of World Cinema , Kwartalnik Filmowy: No. 117 (2022): Unknown/Hidden Cinema
- Miłosz Stelmach, Who Controls the Digital Train? Digitization of Movie Theaters as a Distribution Project , Kwartalnik Filmowy: No. 108 (2019): Film Production and Distribution
- Agata Hołobut, Maciej Rapacz, Miłosz Stelmach, Working Titles. Computational Analysis of Film Titling Practices: A Polish Case Study , Kwartalnik Filmowy: No. 127 (2024): Empirical Film Studies
- Miłosz Stelmach, Cinema Counts: The Computational Turn and Quantitative Methods in Film Studies , Kwartalnik Filmowy: No. 127 (2024): Empirical Film Studies
- Miłosz Stelmach, Fables for Robots: The Hare and the Tortoises , Kwartalnik Filmowy: No. 124 (2023): Streaming
- Miłosz Stelmach, On the Backroads of Adventure: Film Essay and Polish Cinema of the 1970s , Kwartalnik Filmowy: No. 104 (2018): Essay, Found Footage, Compilation Film
- Miłosz Stelmach, The Haunted Screen: A Contribution to the Hauntology of Contemporary Cinema , Kwartalnik Filmowy: No. 96 (2016): Film and Metaphysics
- Miłosz Stelmach, Love Is at the Bottom of Everything: Existential Melodrama , Kwartalnik Filmowy: No. 89-90 (2015): Redefinitions of the Classics
