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Статті в журналах з теми "Deleuze, Gilles (1925-1995 ; philosophe) – Et le cinéma":
Gualandi, Alberto. "The dance of the mind. Physics and metaphysics in Gilles Deleuze and David Bohm." Veritas (Porto Alegre) 62, no. 2 (October 26, 2017): 279. http://dx.doi.org/10.15448/1984-6746.2017.2.28508.
Dawkins, Roger. "How We Speak When We Say Things about Ourselves in Social Media: A Semiotic Analysis of Content Curation." M/C Journal 18, no. 4 (August 10, 2015). http://dx.doi.org/10.5204/mcj.999.
Дисертації з теми "Deleuze, Gilles (1925-1995 ; philosophe) – Et le cinéma":
Deane-Freeman, Timothy. "Le Dehors Numérique : Deleuze et l'écran contemporain." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100035.
The problem this thesis intends to address is that of a certain disconnect between the cinematic philosophy of Gilles Deleuze and the condition of the contemporary moving-image, which, in the years since Deleuze wrote on film, has been radically altered by its transformation into digital format(s). It is my central contention that a productive relationship between this philosophy and contemporary screen cultures is indeed possible, and potentially of great value, provided we can reread and extend certain key Deleuzian concepts.Pursuant to this goal, drawing on a concept deployed throughout Deleuze’s Cinema II: The Time-Image (1985), I argue that digital images can engender certain unique relations with an “outside” –an unarticulated presence beyond the frame, which serves to unground and problematise thought. The “outside” –developed from the literary philosophy of Maurice Blanchot– constitutes a genetic condition of thought, which sees the thinker confronted with that which is fundamentally un-thought, an unrecognisable terrain to which she must respond with creative, novel solutions. This model of thought, I argue, impels us away from habitudes and orthodoxies, forcing us to become radically open to contingency and change –a movement commensurate with what I will claim is the fundamental political orientation of Deleuze’s philosophy
Hême, de Lacotte Suzanne Véronique. "Le cinéma et l'image de la pensée." Paris 1, 2009. http://www.theses.fr/2009PA010651.
Keleris, Argyrios. "Politique et esthétique du “mineur” dans le cinéma indépendant américain des années 1980 aux années 2010Lignes de fuite, tensions et originalité des formes créées dans leur rupture avec le système hollywoodien." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080107.
The objective of this thesis is to study the American independent cinema from the point of view of the difference which it founds with the Hollywood cinema, as a line of flight which deteritorialises the latter, while creating for itself new forms of expression and content. That supposes to consider its relation with the Hollywood cinema as one between two plans of immanence emerged on the same level of individuation inside a broader plan of immanence, that of the North-American cinema. And, at the same time, it supposes to consider the difference between these under-plans in what it implies for a cinema-thought, namely a thought in terms of blocks of movement-images and time-images, facing the particular tensions which characterize the American society. Within this framework, the principal distinction that should be considered is that which passes between: on the one hand, the Hollywood cinema and its various ways (genres, organico-active régime) “of saving” the difference, by representing it; and of representing it by bringing it back to the requirements of only one great form in direct affinity with what I define as a dream of continuity and of coherence of American society; and, on the other hand, the independent cinema and its various ways of testifying to a rebellious core which deteritorialises the predetermined direction towards which the actions and the situations of the Hollywood cinema converge. What is beyond or below Hollywood organic representation and that the independent cinema tears off from the latter is a space of wandering and intensive distribution between forces of power and forces of resistance
Ménard, Claire. "L’Insoutenable flexibilité de l’Être : réseaux et errances dans la littérature et le cinéma contemporains." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080151.
This dissertation studies representations – in contemporary French and Francophone literary fiction and feature films – of the developing condition associated with global markets and networking technology; a condition that the word “flexibility” aptly summarizes. My approach to this issue draws on the “rhizome” concept proposed by Gilles Deleuze and Felix Guattari – that is, on the idea of a discursive space in which everything is connected and which therefore functions like a network. As the Deleuze and Guattari critique of categorization highlighted the non-linear and non-centrifugal nature of the structures governing the creation of meaning, it can also help us study new forms of representation, communication and signification which are by essence both polymorphic and in constant mutation. This state of affairs supposedly gives more room to creativity and innovation; it can be argued, nevertheless, that in the 21st century, capitalism itself behaves more and more like a rhizome, that is to say an ever-changing and polymorphic structure, which forces human beings to constantly adapt in order to fit into this world, thereby becoming more flexible. We have only begun to take stock of this ongoing process of enforced flexibility, and of the suffering that may result from it for the ever-adapting humanity that we have become. My dissertation calls this anguish or unease courtesy of Milan Kundera – “the unbearable flexibility of being.” This research aims at studying this anguish in French Contemporary Literature and Films in works of literature by Jean Echenoz, Jean-Philippe Toussaint, Michel Houellebecq, Marie Redonnet and Eric Chevillard and in films by directors such as Leos Carax, Laurent Cantet, Nicolas Klotz, Noémie Lvovsky, Jean-Marc Moutout and Cédric Klapisch
Pamart, Jean-Michel. "L’énigme Image-temps. L’Image-mouvement et L’Image-temps de Gilles Deleuze : essai de généalogie philosophique." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030084.
To what extent are the books written by Deleuze about cinéma philosophy books ? Following a genealogical reasoning, our study shows how Deleuze “captures” in different ways the works of four philosophers – Kant, Bergson, Peirce, Spinoza – in order to get ahead in his own philosophy. From his encounter with cinema as a whole, Deleuze continues his reflection about transcendental empiricism, reconsidering the issue of image ands signs and secretly revisiting Spinoza’s ethics to offer a new system of ethics which no longer answers the question “What can a body live ?” but its generalization “what can an image live ?” Following the figure of a post-kantian spinozism that we have identified in Deleuze’s work, time as an affect of the self by the self in Kant’s philosophy can be equated with the self-affections of the second kind of knowledge in Spinoza’s work : time becomes the place where spiritual life can spread in the attribute of thought. Being at the same time a genesis of sensitivity, a cosmogony, semiotics and ethics, The Movement-image and The Time-image constitute a system of genetics of image powers of which film-makers singular creations are both the landmarks and the touchstones : Deleuze’s encounter with these movies allows his philosophy to undergo the test of the real and to make it change its course each time he meets a film-maker’s thinking. Deleuze uses cinema which becomes the experimental checking of his philosophy where as cinema “captures” Deleuze and leads him to open up new ways of thinking. In this mating display, Deleuze is the wasp and cinema is the orchid
Lefebvre, Romain. "Hong Sang-soo, un cinéma de la croyance : continuités, discontinuités, conflits d’images et mutation des personnages." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080106/document.
Our thesis proposes a comprehensive view of Hong Sang-soo’s work, from the assumption that thereis a special affinity between cinema images and thought. This assumption agrees with Hong Sang-soo’s project, whichis to modify habits of thoughts and to struggle against illusions through movies.We build our run around the problem of « belief », which refer according to Gilles Deleuze to the possibility forman to connect himself again to the world after a breaking of unity, and allows us to articulate image analysis,philosophical approach and the characters existences. By studying narrative structures and the use of some formalprocesses such as repetition or undoubling effects, we highlight the production of a discontinuous world by the imagesand conceptions of death, time, identity, possible and reality that are specific to Hong Sang-soo. An hidden plot emergesfrom our analysis : a conflict between « images of thought », a tension between continuity and discontinuity that takesplace both inside movies, within the characters existences, and between movies and a spectator.By building a coherent lecture of Hong Sang-soo’s cinema, we want to emphasize his critical implications. Whencritical reception too often confines him to the topic of sentimental relationships, we show that everything that takesplace on the sentimental field involves a mental stake. We also mean to underline that Hong Sang-soo’s cinema, fromthe loss of traditional beliefs, bears within himself a positive outcome, bringing into play new capacities and anaffirmation of new values (difference againt resemblance, instant against prolongation, novelty against reproduction,etc.), and appeals to an evaluative perspective
Zabunyan, Dork. "Voir, parler, penser au cinéma : L'Image-mouvement et l'Image-temps de Gilles Deleuze." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0084.
Deleuze asserts that is two books on cinema - The Movement-Image (1983) and The Time-Image (1985) are "philosophy books". This statement is the starting point of our analysis which tries to replace this essay onmoving images within the general process and work of Deleuze. The main assumption is to insist on the importance of the "doctrine of the faculties" the author analyses since 1968 first with Difference and Repetition in a confrontation with Kant's critical philosophy. The awkward question underlining the link between the "movement-image" and the "time-image" is adressed through this assumption with a specific focus on the idea of "sighted cinema" developped by Deleuze in the interspace of the two volumes, and which formally refers to the particularities of this "doctrine of the faculties". This same doctrine mainly enables to go into the modalities of the disjunction among the visual and the word, which are investigated by Deleuze through contemporary cinema
Yoo, Ga Yeon. "Éthique et esthétique de l’image dans la philosophie de Gilles Deleuze." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080121.
Our thesis work aims to identify the essential character of the image in the philosophy of Gilles Deleuze. It is true that he is the first philosopher to consider the movement of images as the basis of thought. He has indeed written several books about the image. To him, it resembles the movement of thought and ideas and, as such, it is a means of expression and a way of existing, so it is substantial in expressing philosophy. The image allows thought to become a process to facilitate the thinker's reasoning, to understand his act, to desire life and to form the sensible. This is why Deleuze does not limit his theory of the image to the image of cinema, but extends it to all images of thought. This long neglected dimension is beginning to interest more in research on the philosophy of Deleuze. Indeed, the image makes it possible to invent the actual and virtual world of thought, and the possible and real world of existence, so that it is political, ontological and existential. The image invites us to enter into a new sensitivity and a new composition of the relationships of thoughts. The ethics of the image consists of a totality of ideas which expands and differs into everything, which accelerates in movement and slows down in rest. It constitutes its ultimate and absolute unity in a singular way of aesthetic activities. This is how the ethics of image creates a new image that is aesthetic, stylistic and transcendent in its heterogeneities, discontinuities, insensibility. The aesthetic style image specifies this new image as a new form of thought and defines it by constituent elements, expressions and contents
Huang, Chien-hung. "Le montage comme mode de pensée : trois aspects essentiels de montage à partir du paradoxe de la théorie de Gilles Deleuze sur le cinéma." Paris 8, 2004. http://www.theses.fr/2004PA082437.
The two works devoted to the cinema, Movement-Image and Time-Image of Deleuze, constitute a philosophical text complexes which, on a side "problématise" the cinema as a specific mode of the image, and another "met en scene" the confrontation of the cinema and the philosophical thought. But this problematization and the mise en scene reveal the rupture forming "political" confrontation between the cinema and the philosophy, and constituting our principal problems. We approach this problem by three paradoxes of his theory (which constitute three of the essential aspects of montage), namely the representation, the obtusity and the politic, by analyzing the different manners of montage
Pérez, Valérie. "(Se) gouverner selon la nature et la vérité : lire "Emile ou de l'éducation" de Jean-Jacques Rousseau avec Foucault et Deleuze." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080133.
This work is attempt to discuss Rousseau's problematisation of education, using concepts drawn from contem-porary French philosophy. However, if one examines the relation between Foucault and Emile by em-ploying the concept of alèthurgie, one cannot but be struck by the figure of the governor in Emile, who appears in the text to be the guarantor and the condition for the emergence of an idea of truth within the narrative- a truth which is natural, which governs the activities of men, and which is deeply in-volved in the process of education. In his 2012 lectures at the College de France, published under the title ‘The government of the living,’ Michel Fou-cault strove "to develop the concept of government by the truth" through an analysis of the power relations within Oedipus. In particular, Foucault ana-lysed the relation between truth, knowledge, and the exercise of governmen-tal power. In this work, I examine the relation between Foucault’s analysis and Emile Rousseau’s novel Emile. The relation between them may seem paradoxical: after all, Foucault is concerned with truth, and Emile is a work of fiction. The government of childhood can also be illuminated by the Deleuzian concept of Becoming. The Becoming does have something to tell us about childhood, the emancipation of the individual, and about education as a life-long project
Книги з теми "Deleuze, Gilles (1925-1995 ; philosophe) – Et le cinéma":
Marrati, Paola. Gilles Deleuze: Cinéma et Philosophie. Presses Universitaires de France - PUF, 2003.