Deleuze and World Cinemas by David Martin-Jones (Continuum Books, Uk, February 2011)

Deleuze’s Cinema books continue to cause controversy. Although they offer radical new ways of understanding cinema, his conclusions often seem strikingly Eurocentric. Deleuze and World Cinemas explores what happens when Deleuze’s ideas are brought into contact with the films he did not discuss, those from Europe and the USA (from Georges Méliès to Michael Mann) and a range of world cinemas – including Bollywood blockbusters, Hong Kong action movies, Argentine melodramas and South Korean science fiction movies. These emergent encounters demonstrate the need for the constant adaptation and reinterpretation of Deleuze’s findings if they are to have continued relevance, especially for cinema’s contemporary engagement with the aftermath of the Cold War and the global dominance of neoliberal globalization.

Introduction: Deterritorializing Deleuze \ Spectacle I: Attraction-Image \ 1. The Attraction-Image: From Georges Méliès to the Spaghetti Western \ Impossible Voyage (1904) \ Django (1966) \ Keoma (1976) \ History: Deleuze After Dictatorship2. The Child-seer in and as History: Argentine Melodrama \ Kamchatka (2002) \ 3. Folding and Unfolding History: South Korean Time Travel Movies \ Calla (1999) \ Ditto (2000) \ 2009: Lost Memories (2002) \Space: Geopolitics and the Action-Image \ 4. Not just any-space-whatever: Hong Kong and the global/local action-image \ Police Story (1985) \ 5. Globalization ’s Action Crystals: Los Angeles in Michael Mann Blockbusters \ Heat(1995) \ Collateral (2004) \ Spectacle II: Masala-Image6. The Masala-Image: Popular Indian (Bollywood) Cinema \ Toofani Tarzan (1936) \ Awaara (1951) \ Dilwale Dulhania La Jayenge (1995) \ Conclusion: The Continuing Adventures of Deleuze and World Cinemas Bibliography \ Index.

David Martin-Jones, David Martin-Jones is Senior Lecturer in Film Studies at the University of St Andrews, Scotland. He is the author of Deleuze, Cinema and National Identity (2006), Deleuze Reframed (2008) and Scotland: Global Cinema (2009), and co-editor of Cinema at the Periphery (2010) and Deleuze and Film (forthcoming). He is on the editorial boards of Film-Philosophy and A/V: The Journal of Deleuzian Studies

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