Deleuze, Concepts, and Ideas about Film as Philosophy: A Critical and Speculative Re-Examination
DOI:
https://doi.org/10.5195/jffp.2018.834Keywords:
Deleuze, concepts, film-philosophy, film as philosophy, GodardAbstract
This article explores the idea of film as a possible means for articulating original philosophical concepts, in Gilles Deleuze’s sense of concepts. The first of two parts, critically re-examines current ideas about film as philosophy in relation to Deleuze’s ideas on philosophy and cinema/art. It is common within the field of film-philosophy to trace back its central argument that film/cinema is capable of expressing original philosophy, to Deleuze’s cinema books. In and around these books, however, Deleuze did not express such an idea and rather underlined sharp formal differences between cinematic thinking and philosophy (however much he also described and implied proximities and similarities). Cinematic thinking takes the form, he argues, of blocks of movement/duration whereas philosophy is defined as the art of creating concepts. Still, could a close critical scrutiny of and some creativity with Deleuze’s thought allow for taking a step he did not take? The second part of the article takes on the speculative question of whether it is possible to create a notion from within Deleuze’s thought as a whole, that allows for at least the theoretical possibility of articulating original philosophical concepts – as Deleuze defines them (as a particular kind of multiplicity) – in and through film, and what this would mean for our understanding of the concrete form of concepts. The article examines Deleuze’s concept of concepts (how he defines their internal logic and by which formal means he implies that they can be articulated), his descriptions of complicating intersections between philosophy and art, some partly conflicting statements on Godard over the years, aspects of his analyses of filmic thinking in Cinema 2 that can be seen to provide preliminary components for articulating concepts in and through film, and it discusses the place and function of words and texts in such filmic articulations. If the aim of the first part is to clarify Deleuze’s positions on film and philosophy (often muddled in current film-philosophical writings) the aim of the second part resonates with the Deleuzian/Nietzschean quest for formal renewal of philosophy. The overall aim is to re-problematize and provide subtle new means for conceiving of and discussing the notion of film as philosophy.
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
- The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
- Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
- The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons 4.0 License (Attribution-Noncommercial-No Derivative Works), or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
- Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
- Noncommercial—other users (including Publisher) may not use this Work for commercial purposes;
- No Derivative Works—other users (including Publisher) may not alter, transform, or build upon this Work,with the understanding that any of the above conditions can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
- The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post online a pre-publication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
- Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
- The Author represents and warrants that:
- the Work is the Author’s original work;
- the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
- the Work is not pending review or under consideration by another publisher;
- the Work has not previously been published;
- the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
- the Work contains no libel, invasion of privacy, or other unlawful matter.
- The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.
