Deleuze Studies Volume 5.2: Schizoanalysis and Visual Cultures - Edited By: Phillip Roberts and Richard Rushton (Edinburgh University Press, Uk, July 2011)

Schizoanalysis and Visual Cultures

Deleuze Studies Volume 5.2

Edited By: Phillip Roberts and Richard Rushton

Film criticism has always been about more than aesthetics, and by staging an encounter between Deleuze's cinema project and his schizoanalysis work with Félix Guattari this volume attempts to open Deleuze's aesthetic and philosophical analysis of film into spaces that can address his cinema books as a project that is also political, historical, industrial, economic, or cartographic in nature. Cinema no longer exists solely inside the cinematic apparatus - cinema must become television, digital imagery, web broadcast, advertisement; it must become open to a field of moving images and visual culture at large, and this volume opens Deleuze's thought accordingly, inviting a range of leading scholars to question what can be done with Deleuze's cinematic analyses if we are made to think of them as a further study in schizoanalysis.

Key Features

• Tom Conley explores an intersection between Deleuze and Blanchot in order develop a cartographic theorisation of film and visual culture
• Patricia Pisters asks what a cinematic conception of Deleuze's third synthesis of time might look like and begins to explore what she will call the Neuroimage
• Richard Rushton charts the appearance of a Deleuzian imaginary in the films of Jean Renoir
• Hanjo Berressem studies actual/virtual montage in Psycho and The Birds and uncovers a schizoanalytic Hitchcock of pure optical and sound images.

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Cinema After Deleuze by Richard Rushton (Continuum, Uk, 2012)

Pub. date: 17 May 2012 (paperback)
Pub. date: 15 Mar 2012 (hardcover)

Cinema After Deleuze offers a clear and lucid introduction to Deleuze’s writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze’s two landmark books on cinema and offers assessments of a range of films, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni, Alain Resnais and others. Contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-wai are also examined in the light of Deleuze’s theories, thus bringing Deleuze's writings on cinema right up to date.

Cinema After Deleuze demonstrates why Deleuze is rightly considered today to be one of the great philosophers of cinema. The book is essential reading for students in philosophy and film studies alike.

Introduction \ 1. What Questions Does Deleuze's Philosophy of Cinema Answer? \ 2. The Movement-Image I: Griffith, Eisenstein, Lang and Gance \ 3. The Movement-Image II: Ford and Kazan \ 4. The Movement-Image III: Hawls and Hitchcock \ 5. The Time-Image I: Neorealism, Rossellini, De Sica and Antonioni \ 6. The Time-Image II: Crystals of Time, Ophuls and Fellini \ 7. The Time-Image III: Sheets of Time, Welles and Resnais \ 8. Cinema and Thought: Spiritual Automata \ 9. Cinema After Deleuze I: The Persistence of the Movement-Image \ 10. Cinema After Deleuze II: New Elements of the Time-Image \ Further Reading \ Index


Richard Rushton, Richard Rushton is Senior Lecturer in Film Studies at Lancaster University, UK. He is the author ofThe Reality of Film (Manchester University Press, 2010) and (with Gary Bettinson) What is Film Theory? (Open University Press, 2010) as well as numerous articles on film and cultural theory


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