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Rethinking time in the cinematic epi...

Choe, Youngjeen.

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Rethinking time in the cinematic epistemology: Gilles Deleuze and the cinema of time.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Rethinking time in the cinematic epistemology: Gilles Deleuze and the cinema of time./
作者:	Choe, Youngjeen.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2002,
面頁冊數:	244 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1442.
Contained By:	Dissertation Abstracts International64-05A.
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3089467
ISBN:	9780496371990

Rethinking time in the cinematic epistemology: Gilles Deleuze and the cinema of time.
Choe, Youngjeen.

Rethinking time in the cinematic epistemology: Gilles Deleuze and the cinema of time. - Ann Arbor : ProQuest Dissertations & Theses, 2002 - 244 p.

Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1442.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2002.

This dissertation explores Gilles Deleuze's idea of cinema in terms of a triangular relationship between image, time and thought. My inquiry focuses on how movement and time are manipulated in the film structure and how montage expresses each different mode of thinking at each different stage of cinematic image.

ISBN: 9780496371990Subjects--Topical Terms:

2122736
Film studies.

Rethinking time in the cinematic epistemology: Gilles Deleuze and the cinema of time.
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500 $a Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1442.
500 $a Adviser: Krin Gabbard.
502 $a Thesis (Ph.D.)--State University of New York at Stony Brook, 2002.
520 $a This dissertation explores Gilles Deleuze's idea of cinema in terms of a triangular relationship between image, time and thought. My inquiry focuses on how movement and time are manipulated in the film structure and how montage expresses each different mode of thinking at each different stage of cinematic image.
520 $a In movement-image, time is constituted by a chronological succession of movements in which the present functions as an interval between past and future. But, in time-image where narrative movement deviates from the logic of linear causality, the past is considered as coexisting with the present on the same plane, and thus, it constitutes "purely virtual circuits" at each present moment. Deleuze classified this non-chronological relation of the present and the past by two possible forms: the layers of the past and the peaks of the present which are exemplified respectively in his analyses of Orson Welles' Citizen Kane and Alain Resnais' Last Year at Marienbad.
520 $a David Lynch's Lost Highway is grounded on a more radical form of time where the past becomes drastically split from the present due to the inaccessibility to memory. A crucial point of my argument for this film is laid on the Mystery Man character who is taking an indiscernible position between the actual and the virtual circuits of the film narrative. His paradoxical role makes the two incompossible narrative lines into a "series" in the Deleuzian sense.
520 $a The relationship between image and thought is configured through two different stages of montage in cinema history, which I see concretized by two key figures: Sergei Eisenstein and Jean-Luc Godard. For Eisenstein, the ultimate goal of montage is a dialectical synthesis of thought and feeling for which he emphasizes the necessity of intellectual montage. For Godard, montage functions as a conceptual method by which the conventional image-relations are put into question. In Prenom Carmen, the interstice of audio-visual disruption constantly echoes in the notion of prenom which also evokes an undecidable relationship between Godard and Uncle Jean, between documentary and fiction, and between nature and art.
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