Deleuze and World Cinemas
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Shortlisted for the British Association of Film, Television and Screen Studies Annual Book Award!
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.
solely those Deleuze identified. The chapter then explores the continued existence of the “attraction-image” in different cinemas, using the example of European “spaghetti” westerns from the 1960s and 1970s (Django (1966), and Keoma (1976)). These films demonstrate how ideally suited “attraction-images” are to the construction of political narratives, in this instance in tales of fantasy tourism or subaltern revolution during the Cold War that appeal to different audiences worldwide. In the
grip of a mutation, they are themselves mutants. On the subject of Two or Three Things . . . Godard says that to describe is to observe mutations. Mutation of Europe after the war, mutation of an Americanized Japan, mutation of France in ‘68: it is not the 74 Deleuze and World Cinemas cinema that turns away from politics, it becomes completely political, but in another way.18 A clear sense comes through in Deleuze’s argument, then, that the seer (including the child seer) encounters history
film scholar, perhaps the most apparent absence from the Cinema books is what most people would consider the world’s second largest film industry, India. The inception of Deleuze and World Cinemas was an article I published in Deleuze Studies, on popular Indian (or Bollywood) cinema. This piece caused me to reconsider my previous interpretation of Deleuze’s Cinema books in Deleuze, Cinema and National Identity (2006), exploring instead the problematic universalizing intent of Deleuze’s movement-/
prostitute has been dumped by the murderer, Waingro. Again juxtaposing Globalization’s Action Crystals 179 spaces are used to great effect when, after Van Zant’s double cross in a deserted drive-in fails, McCauley, situated in a busy restaurant kitchen, calls Van Zant in his luxury office to tell him that he is a dead man. In the process of juxtaposing these various spaces of contrasting wealth, Heat demonstrates the end of any singular, national historical identity to the city (witness the
attempts to steal from the gateway city must be foiled. In the interim, however, we witness the ease with which an entrepreneurial professional can apparently create wealth in the gateway city. City/Sea of Colours This analysis of Heat as an action-crystal draws to a close with a discussion of the film’s cinematography, its extremely expressive rendering of Los Angeles through darkness and coloured lights contributing to its construction of the gateway city as an any-space-whatever. Most