Deleuze and Lola Montès

Description

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation. Title Page Copyright Page Contents Acknowledgments Abbreviations Chapter 1: Deleuze’s Cinema: Movement, Time, Memory, and Subjectivity A Philosopher Goes to the Movies On Max Ophuls The Movement-Image: Time as Measurement The Past Can Change The Time-Image La Ronde A Little Stroll Through Time The Regimes of Images From One Regime to Another Deleuze and Philosophy: Nietzsche Deleuze and Philosophy: The Importance of Bergson Deleuze and Philosophy: Spinoza What Is Perception? Images Are Not Representations of Things (Against Phenomenology) Cinema: Perception-Image, Action-Image, Affection-Image The Material Aspects of Subjectivity Letter from an Unknown Woman A Feminist Reading A Tale of Masochism Another Reading: George M. Wilson Stanley Cavell on Letter What Would Deleuze Say about Letter from an Unknown Woman? Flashbacks The Impulse-Image The Affection-Image in Letter from an Unknown Woman Some Conclusions on Letter from an Unknown Woman and the Movement-Image Chapter 2: On Lola Montès and the Time-Image Memory, Recollection-Image Image Memory and Pure Memory Falling into Pure Memory: Lola Montès Back into Time: The Crystal-Image The Crystal-Image: Lola Meets the Ringmaster Going Backstage “The actual is always objective, but the virtual is subjective” “Subjectivity is never ours, it is time” “Affect is experienced in time, while time can be defined as ‘the affection of self by self’” The Spectacle of Woman From Passive Affections to Passive Affections The Three Passive Syntheses of Time Peaks of Present, Sheets of Past The Spiritual Automaton The Powers of the False Notes Chapter 1 Chapter 2 Index