Deleuze and the tectonics of the visual
(2013) International Deleuze Studies Conference — Location: Lisbonne (8.July.2013)
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- Abstract
- Cinema is often said to be for Deleuze an art of time. But space also plays a crucial role in his film aesthetics: the ruined cities of Rossellini, the huge emptied landscapes of Eisenstein and Kurosawa, the intricate corridors of Resnais or the disconnected space of Bresson. It is argued that Deleuze was particularly sensitive to this topic. Instead of simply considering homogeneous divisible space within which positions would indicate instants in time, he proposes an abounding account which entangles and disentangles variable spatial determinations: the sky and the earth, original worlds and derived environments, selections isolated by the frame and their opening up, the hodological space of the sensory-motor schemata and its crisis. And indeed, great filmmakers – comparable with that regard to great thinkers – always found peculiar ways for tremendously varying dimensions, distances and positions, so that the actual, geographical and concrete locations were able to be exceeded from within by a deeper, primal and opaque foundation of space. Because he didn’t stop short describing directing techniques, Deleuze felt the need for a whole geometry and physics, more precise and profound than his familiar thesis about the deficiency of mere spatio-temporal coordinates. The aim of this paper is to address deleuzian conceptualization of space within the theoretical network of his film aesthetics. Ultimately, it is revealed why poetics of generalized connection of bits of space should be as much a technical as a metaphysical problem.
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Lebedev, O. (2013). Deleuze and the tectonics of the visual. International Deleuze Studies Conference, Lisbonne. https://hdl.handle.net/2078.5/206535