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First Sentence
In The Movement-Image, the first of his two volumes on cinema and philosophy, Gilles Deleuze launches toward a moment of remarkable visibility: "The essence of a thing never appears at the outset, but in the middle, in the course of its development, when its strength is assured." Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
In The Movement-Image, the first of his two volumes on cinema and philosophy, Gilles Deleuze launches toward a moment of remarkable visibility: "The essence of a thing never appears at the outset, but in the middle, in the course of its development, when its strength is assured." Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Customer Reviews
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11 of 11 people found the following review helpful
Format:Paperback
Not only is this the best book I have found on Deleuze's philosophy of cinema but, I suspect, it may also be among the best books on Deleuze in general. In the past, I have been frustrated by attempts to "explain" what Deleuze is doing with cinema, which tend to be even more dense than the philosopher himself (cf. Rodowick's Gilles Deleuze's Time Machine). The Brain is the Screen is clearer, certainly better written, and ultimately (I think) more insightful/persuasive. I mean, why should we bother with The Movement-Image and The Time-Image? The answer surfaces here over the course of twelve essays, each of which treats very distinct films and filmmakers via Deleuze's work. The coverage is both fantastic and suggestive (anyone who works in film studies or philosophy should check it out). The collection also includes an excellent introduction to Deleuze's "cine-philosophy" as well as an interview/essay by Deleuze himself. A really great book.
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12 of 14 people found the following review helpful
What to read to read Deleuze
1 May 2001
Format:Paperback
This book is well worth the time for anyone who cares about philosophy, who does film studies, or who simply wants to understand Deleuze. The opening introduction to Deleuze's film-philosophy is the best I've come across; the essays are superb (see, especially, those by Lambert, Marks, Canning, Martin, Alliez, and Conley); and the concluding interview with Deleuze is surprisingly lucid. This ought to be required reading.
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