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Cinema I: The Movement Image (Continuum Impacts) Paperback – 19 Jan 2005

4.7 out of 5 stars 3 customer reviews

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  • Cinema I: The Movement Image (Continuum Impacts)
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  • Cinema II: The Time-Image (Bloomsbury Revelations)
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  • What is Cinema?: Volume I: v. 1
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Product details

  • Paperback: 280 pages
  • Publisher: Continuum (19 Jan. 2005)
  • Language: English
  • ISBN-10: 0826477054
  • ISBN-13: 978-0826477057
  • Product Dimensions: 12.9 x 1.6 x 19.8 cm
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 469,662 in Books (See Top 100 in Books)

Product Description

Review

""Cinema I "and "Cinema II "must be understood as works of philosophy, not of film criticism. They are Deleuze's reflection on the new ways the cinema enables us to think about time and movement, opening up insights into semiotics and our ideological construction of a world increasingly experienced through representational media.... The main purpose of these books is to identify and explore the implications of a vital shift from classical, pre-World War II cinema of the movement-image to post-World War II cinema of the time-imaging.... ""Cinema 1 "and "Cinema 2 "perhaps ultimately have more to teach us about philosophy, conceptions of subjectivity, and hermeneutics than to say something about any specific film. These books are challenging because they develop their own vocabulary in dialogue with the history of philosophy, and they assume a wide knowledge of films from the Soviet, European and Hollywood traditions. They reward the effort required to read them, however, for the original tools with which they provide us to understand cinema and semiotics more generally. Deleuze concludes that it is important to think of cinema not as a language, but as a way of bringing to light 'intelligible content' which is a condition through which language constructs its objects ("Cinema 2, "p.251). Thus, purely optical and sound images which do not extend into action might be one way in which aesthetics might help us break outside of the determining structure of linguistic systems, enabling us to imagine the world otherwise. Deleuze helps us to see cinema as more than just a collection of texts but as additionally 'a new practice of images and signs, whose theory philosophy must produce as conceptual practice' ("Cinema 2, "p. 269)."- Sherryl Vint, "Film International, "Issue 27v--Sanford Lakoff

About the Author

Gilles Deleuze (1925-1995) was Professor of Philosophy at the University of Paris VIII. He is one of the key figures in poststructuralism, and one of the most influential philosophers of the twentieth century.


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Format: Paperback Verified Purchase
Deleuze considers the movement-image in cinema, montage as a representational process of cutting, represents time indirectly; this is similar to the reformulation of perception in daily experience, hence ideology and it's representation in cinema. The heuristic series: perception, affect, impulse, action, is from classical philosophy, and has the same source as the method suggested in Foucault's archaeology of knowledge. Cinema 1 is a better and more accessible book than Cinema 2, though both are excellent.
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a dense but wonderful book, although I found cinema 2 more applicable to my research, the book came promptly and was in perfect condition
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Wonderful!
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0xa2c6e498) out of 5 stars 1 review
9 of 9 people found the following review helpful
HASH(0xa2c6a5e8) out of 5 stars Cinema I = amazing; this edition = amazing detracted by several typos 25 April 2014
By deartheo - Published on Amazon.com
Format: Paperback Verified Purchase
A brief review of the copy editing of this edition (Bloomsbury) and not Deleuze's Cinema 1, per se, which in itself is worthy of six stars. The Bloomsbury edition is basically attractive in design (subjective evaluation), being one book from the larger Bloomsbury Revelations line.This Cinema 1 therefore shares the aesthetic of the overall series, all given a refreshed and casual look (e.g. reproduction benday images are overlaid with brightly colored dots and script typefaces, etc.). Inside is where the real problems lie. A sans-serif typeface is used for the body of the text, which slows down the flow of reading, as sentences don't read with the same fluidity as with a serifed font. With the sans-serifed font the reading feels less pleasant, and less like a book and more like a PDF that was printed and bound. So, I knock this edition for the use of its sans-serif font, which makes extended reading a bit more taxing in my experience. A second problem I have with the body of the text is the number of relatively egregious typos, which makes the text occasionally seem to have been copy edited by some computer program, e.g. m's are used instead of in's. A last mild critic is of the text and sentence layout itself, which is jammed together in spots and spread in others all seemingly to avoid hyphenation (a computer as typesetter comes to mind). My recommendation would be to pick up the University of Minnesota edition over the Bloomsbury (they both share the same translation but Minnesota's has the better text layout and design on the inside, more pleasant to read as a book).
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