Chaoid cinema : Deleuze & Guattari and the topological vector of silence / Colin Gardner.

Format:

Book

Author/Creator:

Gardner, Colin, author.

Series:

Edinburgh scholarship online.

Edinburgh scholarship online

Language:

English

Subjects (All):

Deleuze, Gilles, 1925-1995.

Deleuze, Gilles.

Guattari, Félix, 1930-1992.

Guattari, Félix.

Silence in motion pictures.

Motion pictures--History.

Motion pictures.

Psychoanalysis and motion pictures.

Physical Description:

1 online resource (376 p.) : 3 B/W illustrations

Edition:

1st ed.

Place of Publication:

Edinburgh : Edinburgh University Press, 2022.

Language Note:

In English.

Summary:

A Deleuzian analysis of the role of silence as chaotic interstice in sound film.

Contents:

Frontmatter

Contents

Acknowledgements

Introduction – ‘Stratigraphic Silence’: Chaoid Cinema and its Centripetal/Centrifugal Functions

1. ‘The Multiplicity is Among Us’: Silence and the Machinic Phylum in Fritz Lang’s M (1931)

2. Ecosophical Chaoids: Towards an ‘Infinite Cinema’ with Hollis Frampton’s Zorns Lemma (1970) and Gloria! (1979)

3. ‘There is No Film. Let Us Proceed to the Debates!’: Immanence as ‘Syncinema’ in Maurice Lemaître’s Le film est déjà commencé? (1951) and Guy Debord’s Hurlements en faveur de Sade (1952)

4. The Children of Barthes and Paris Match: Godard, Prostitution and the Rhetoric of the Image

5. ‘Tricontinental Tropicalism’: The Convulsive Carnival of a Syncretic Populism in Glauber Rocha’s Terra em Transe (1967), Der Leone Have Sept Cabeças (1970) and A Idada da Terra (1980)

6. ‘See You at Mao’: the ’60s Left Returns to Zero with the Dziga Vertov Group

7. Silencing Interpellation: Gorin, Althusser and the Ideological State Apparatus

8. ‘We’re Projectorists!’: Concrete Duration and the Spectacle of Attractions in Malcolm Le Grice’s Little Dog for Roger (1967), Threshold (1972) and After Lumière – L’Arroseur Arrosé (1974)

9. On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami’s Chorus (1982), Homework (1989) and Close-Up (1990)

Conclusion – ‘The Abyss Also Looks Into You’: From Syncinema to ‘Sin’ Cinema in Mike Figgis’s Leaving Las Vegas (1995) and Harmony Korine’s Trash Humpers (2009)

Bibliography

Index

Notes:

Previously issued in print: 2021.

Includes bibliographical references and index.

Description based on online resource; title from PDF title page (viewed on May 5, 2022).

Description based on publisher supplied metadata and other sources.

ISBN:

1-4744-9405-6

1-3995-0917-9

1-4744-9404-8

OCLC:

1312726070