Reassessing the unique qualities of Renoir's influential visual style by interpreting his films through Gilles Deleuze's film philosophy, and through previously unpublished production files, Barry Nevin provides a fresh and accessible interdisciplinary perspective that illuminates both the consistency and diversity of Renoir's oeuvre.
Reassessing the unique qualities of Renoir's influential visual style by interpreting his films through Gilles Deleuze's film philosophy, and through previously unpublished production files, Barry Nevin provides a fresh and accessible interdisciplinary perspective that illuminates both the consistency and diversity of Renoir's oeuvre.
Jean Renoir is widely considered as one of the most important technical innovators and politically engaged filmmakers in cinema history. Reassessing the unique qualities of Renoir's influential visual style by interpreting his films through a blend of Gilles Deleuze's film philosophy and previously unpublished production files, Barry Nevin provides a fresh and accessible interdisciplinary perspective that illuminates both the complexity and diversity of Renoir's oeuvre. Exploring canonised landmarks in Renoir's career, including La Grande Illusion (1937) and La Règle du jeu (1939), the book also considers neglected films such as Le Bled (1929) and Diary of a Chambermaid (1946) to present a rounded analysis of this quintessential French auteur's oeuvre.
Jean Renoir (1894-1979) is widely regarded as one of the most distinguished directors in the history of world cinema. In the 1930s he directed a string of films which stretched the formal, intellectual, political and aesthetic boundaries of the art form, including works such as Le Crime de Monsieur Lange, La Grande Illusion, La Bête humaine and La Règle du jeu. However, the great director’s early work from the 1920s remains almost completely unknown, even to film specialists. If it is discussed at all, it is often seen to be of interest only insofar as it anticipates themes and techniques perfected in the later masterpieces. Renoir’s films of the 1920s were sometimes unfinished, commercially unsuccessful, or unreleased at the time of their production. This book argues that to regard them merely as prefigurations of later achievements entails a failure to view them on their own terms, as searching, unsettled experiments in the meaning and potential of film art.
This book bridges the existing gap between film sound and film music studies by bringing together scholars from both disciplines who challenge the constraints of their subject areas by thinking about integrated approaches to the soundtrack. As the boundaries between scoring and sound design in contemporary cinema have become increasingly blurred, both film music and film sound studies have responded by expanding their range of topics and the scope of their analysis beyond those traditionally addressed. The running theme of the book is the disintegration of boundaries, which permeates discussions about industry, labour, technology, aesthetics and audiovisual spectatorship. The collaborative nature of screen media is addressed not only in scholarly chapters but also through interviews with key practitioners that include sound recordists, sound designers, composers, orchestrators and music supervisors who honed their skills on films, TV programmes, video games, commercials and music videos.
Henri Bergson (1859–1941) is widely regarded as one of the most original and important philosophers of the twentieth century. His work explored a rich panoply of subjects, including time, memory, free will and humour and we owe the popular term élan vital to a fundamental insight of Bergson’s. His books provoked responses from some of the leading thinkers and philosophers of his time, including Albert Einstein, William James and Bertrand Russell, and he is acknowledged as a fundamental influence on Marcel Proust. The Bergsonian Mind is an outstanding, wide-ranging volume covering the major aspects of Bergson’s thought, from his early influences to his continued relevance and legacy. Thirty-six chapters by an international team of leading Bergson scholars are divided into five clear parts: Sources and Scene Mind and World Ethics and Politics Reception Bergson and Contemporary Thought. In these sections fundamental topics are examined, including time, freedom and determinism, memory, perception, evolutionary theory, pragmatism and art. Bergson’s impact beyond philosophy is also explored in chapters on Bergson and spiritualism, physics, biology, cinema and post-colonial thought. An indispensable resource for anyone in Philosophy studying and researching Bergson’s work, The Bergsonian Mind will also interest those in related disciplines, such as Literature, Religion, Sociology and French Studies.
Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key concepts behind Deleuze's revolutionary theory of the cinema. Exploring ideas through key directors and genres, Deleuze's method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema. Deleuze and Cinema provides the first introductory guide to Deleuze's radical methodology for screen analysis. It will be invaluable for students and teachers of Film, Media and Philosophy.
Considered one of the most important works of one of France's foremost philosophers, and long-awaited in English, "The Logic Of Sense" is an essay in literary and psychoanalytic theory, and philosophy, and helps to illuminate such works as "Anti-Oedipus".
The Non-Philosophy of Gilles Deleuze takes up Deleuze's most powerful argument on the task of contemporary philosophy in the West. Deleuze argues that it is only through a creative engagement with the forms of non-philosophy—notably modern art, literature and cinema—that philosophy can hope to attain the conceptual resources to restore the broken links of perception, language and emotion. In short, this is the only future for philosophy if it is to repair its fragile relationship to immanence to the world as it is.A sequence of dazzling essays analyze Deleuze's investigations into the modern arts. Particular attention is paid to Deleuze's exploration of Liebniz in relation to modern painting and of Borges to an understanding of the relationship between philosophy, literature and language. By illustrating Deleuze's own approach to the arts, and to modern literature in particular, the book demonstrates the critical significance of Deleuze's call for a future philosophy defined as an "art of inventing concepts.">
