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Humanities, film studies, and social science scholars will find this book a valuable contribution to the philosophical literature on cinema and its pertinence in contemporary life.
FORMATPaperback LANGUAGEEnglish CONDITIONBrand New Publisher Description
In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of Cinema 1 and Cinema 2 in the corpus of his philosophy? How and why does Deleuze consider cinema as a singular object of philosophical attention, a specific mode of thought? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? How does it recode and utilize Henri Bergson's thought and Andre Bazin's film theory? What does it tell us about perceiving a world in images-indeed about our relation to the world? These are the central questions addressed in Paola Marrati's powerful and clear elucidation of Deleuze's philosophy of film. Humanities, film studies, and social science scholars will find this book a valuable contribution to the philosophical literature on cinema and its pertinence in contemporary life.
Notes
The claims upon philosophy by the explosive consciousness of the fact and the art of cinema-not alone claims upon the philosophy of art but upon philosophical thinking at large, upon what is to be called thinking-are, still surprisingly to me, not something that has attracted the sustained attention of most philosophers. However intensely and consecutively and concretely I recognized these claims to be met with in the work of Gilles Deleuze, I had in several attempts over the years not been able to find my way into a convincing draw through the manner of it. The appearance of Paola Marrati's admiring and sustained attention to this thinking, placing and featuring Deleuze's principal volumes on cinema (it is essential to her view that these are indeed featured, in important ways climactically, in Deleuze's expansive body of work), changes the intellectual odds in this demanding challenge. I imagine that many others will also find education in Marrati's sophisticated and generous and clarifying articulation of Deleuze's educative venture over the entire constellation of the major cinema of the world, but I think no one could be more grateful to her achievement than I am. It is a relief to be in the presence of Deleuze's intellectual originality and Paola Marrati's meticulous responsiveness to it, free of the many fashionable repetitions in the field of film study (e.g., film is a language, film is unconscious of its ideological slants and economic drags), and to watch other of its slogans (e.g., film is a mass art, film is a producer of dreams, Hollywood never appreciated its geniuses), given surprising derivations that release a sequence of genii from their jarred formulas. -- Stanley Cavell, Walter M. Cabot Professor of Aesthetics and the General Theory of Value, Emeritus, Harvard University This is no doubt the best concise introduction to Deleuze available today, not only with respect to his ideas about cinema but also in its attentiveness to his philosophy and his approach to art. Written in a clear, compelling style that sacrifices nothing of the complexity and beauty of Deleuze's thought, Marrati's book carefully unfolds Deleuze's principle concepts relating to perception, time, image, affect, and belief. -- D. N. Rodowick, Harvard University, author of Gilles Deleuze's Time Machine
Back Cover
Outstanding Academic Title, Choice Magazine In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of Cinema 1 and Cinema 2 in the corpus of his philosophy? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? What does it tell us about perceiving a world in images--indeed about our relation to the world? These are the central questions addressed in Paola Marrati's powerful and clear elucidation of Deleuze's philosophy of film. "Marrati's slender but incisive treatment of Deleuze's unification of philosophy with the art of cinema is an indispensable work for new and advanced Deleuze scholars grappling with the thick weave of film analyses cum philosophical expositions... Essential."-- Choice "A surprising, rewarding, and insightful text that breaks new ground, Cinema and Philosophy does a great service: it helps us believe in a 'new' and compelling future for Deleuzian studies of film and philosophy."-- MLN "Readers looking for an introduction to Deleuze's work on cinema will find it in Marrati's evident commitment to precision and her remarkable clarity in the face of a series of notoriously complex texts."-- Scope
Flap
Outstanding Academic Title, Choice Magazine In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of Cinema 1 and Cinema 2 in the corpus of his philosophy? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? What does it tell us about perceiving a world in images--indeed about our relation to the world? These are the central questions addressed in Paola Marrati's powerful and clear elucidation of Deleuze's philosophy of film. "Marrati's slender but incisive treatment of Deleuze's unification of philosophy with the art of cinema is an indispensable work for new and advanced Deleuze scholars grappling with the thick weave of film analyses cum philosophical expositions . . . Essential."-- Choice "A surprising, rewarding, and insightful text that breaks new ground, Cinema and Philosophy does a great service: it helps us believe in a 'new' and compelling future for Deleuzian studies of film and philosophy."-- MLN "Readers looking for an introduction to Deleuze's work on cinema will find it in Marrati's evident commitment to precision and her remarkable clarity in the face of a series of notoriously complex texts."-- Scope
Author Biography
Paola Marrati is a professor of humanities and philosophy at the Johns Hopkins University.
Table of Contents
Preface to the English-language EditionAcknowledgmentsFrequently Cited TextsIntroduction1. Images in Movement and Movement-Images2. Cinema and Perception3. The Montage of the Whole4. Postwar Cinema5. The Time0Image6. Images and Immanence: The Problem of the WorldConclusionAppendix: A Lost Everyday: Deleuze and Cavell on HollywoodNotesWorks CitedIndex
Review
Marrati's slender but incisive treatment of Deleuze's unification of philosophy with the art of cinema is an indispensable work for new and advanced Deleuze scholars grappling with the thick weave of film analyses cum philosophical expositions... Essential. Choice Beautifully written and expertly translated, Paola Marrati's Gilles Deleuze: Cinema and Philosophy brings much needed clarity to Deleuze's two monumental works on cinema. -- Joe Hughes Rain Taxi Review of Books Readers looking for an introduction to Deleuze's work on cinema will find it in Marrati's evident commitment to precision and her remarkable clarity in the face of a series of notoriously complex texts. -- Alexander Thimons Scope A surprising, rewarding, and insightful text that breaks new ground, Cinema and Philosophy does a great service: it helps us believe in a 'new' and compelling future for Deleuzian studies of film and philosophy. -- Meredith C. Ward MLN
Promotional
The claims upon philosophy by the explosive consciousness of the fact and the art of cinema-not alone claims upon the philosophy of art but upon philosophical thinking at large, upon what is to be called thinking-are, still surprisingly to me, not something that has attracted the sustained attention of most philosophers. However intensely and consecutively and concretely I recognized these claims to be met with in the work of Gilles Deleuze, I had in several attempts over the years not been able to find my way into a convincing draw through the manner of it. The appearance of Paola Marrati's admiring and sustained attention to this thinking, placing and featuring Deleuze's principal volumes on cinema (it is essential to her view that these are indeed featured, in important ways climactically, in Deleuze's expansive body of work), changes the intellectual odds in this demanding challenge. I imagine that many others will also find education in Marrati's sophisticated and generous and clarifying articulation of Deleuze's educative venture over the entire constellation of the major cinema of the world, but I think no one could be more grateful to her achievement than I am. It is a relief to be in the presence of Deleuze's intellectual originality and Paola Marrati's meticulous responsiveness to it, free of the many fashionable repetitions in the field of film study (e.g., film is a language, film is unconscious of its ideological slants and economic drags), and to watch other of its slogans (e.g., film is a mass art, film is a producer of dreams, Hollywood never appreciated its geniuses), given surprising derivations that release a sequence of genii from their jarred formulas. -- Stanley Cavell, Walter M. Cabot Professor of Aesthetics and the General Theory of Value, Emeritus, Harvard University This is no doubt the best concise introduction to Deleuze available today, not only with respect to his ideas about cinema but also in its attentiveness to his philosophy and his approach to art. Written in a clear, compelling style that sacrifices nothing of the complexity and beauty of Deleuze's thought, Marrati's book carefully unfolds Deleuze's principle concepts relating to perception, time, image, affect, and belief. -- D. N. Rodowick, Harvard University, author of Gilles Deleuze's Time Machine
Long Description
In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of Cinema 1 and Cinema 2 in the corpus of his philosophy? How and why does Deleuze consider cinema as a singular object of philosophical attention, a specific mode of thought? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? How does it recode and utilize Henri Bergson's thought and Andr
Review Text
""Marrati's highly informative and carefully argued book touches on significant elements of the link between cinema and philosophy in Deleuze's work. This is a stimulating, sharp and keenly argued book.""
Review Quote
Readers looking for an introduction to Deleuze's work on cinema will find it in Marrati's evident commitment to precision and her remarkable clarity in the face of a series of notoriously complex texts.
Details ISBN1421407914 Author Alisa Hartz Audience Age 17 Publisher Johns Hopkins University Press Year 2012 Translator Alisa Hartz ISBN-10 1421407914 ISBN-13 9781421407913 Format Paperback Imprint Johns Hopkins University Press Subtitle Cinema and Philosophy Place of Publication Baltimore, MD Country of Publication United States Translated from French DEWEY 791.4301 Short Title GILLES DELEUZE Language English Media Book Pages 160 Illustrations 2 Line drawings, black and white Publication Date 2012-11-26 NZ Release Date 2012-11-26 US Release Date 2012-11-26 UK Release Date 2012-11-26 Alternative 9780801888021 Audience Undergraduate Series Parallax: Re-visions of Culture and Society AU Release Date 2012-10-14 We've got this
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