By Barbara Kennedy
Film conception has for thus lengthy considering sociological, empirical, and psychoanalytic ways that aesthetic sensibilities appear to have been forgotten. This publication places the emphasis again on movie as an paintings shape. via discussions of Orlando, The English sufferer, Romeo and Juliet, unusual Days, and Leon, the publication deals a brand new and artistic collusion among Deleuzian philosophy -- in particular Deleuze's principles approximately wish, excitement, sensation, impact, and "becoming-woman" -- and modern movie studies.
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Additional resources for Deleuze and Cinema: The Aesthetics of Sensation
Of course I am not suggesting that ideology and signification are not still significant discourses through which to theorise the filmic experience. I am arguing that there are other paradigms as well. 20. See Judith Butler, Gender Trouble: Feminism and the Subversion of Identity ; Bodies That Matter: On the Discursive Limits of Sex . 21. I want to highlight the term `machinic' as one which advocates creative possibilities of connection: machinic in a positive and affirmative sense, and not in any negative or entropic sense, as it might be perceived in its literal definitions.
It enables a theory of film as an event across bodies, as a processual becoming, rather than the filmic text as a system or form of representation. Thus a postsemiotic and post-linguistic inquiry into the `event' of the cinematic process provides a way forward in cinematic theory that questions the prioritisation of the visual or the scopic regime. It offers in its place or at least alongside it, a theory of a technologised 24 or assembled `body', a molecular body in the process of cinematic experience.
Here the very term `woman' is distanciated from any essential or intrinsic connection to the From Micro-politics to Aesthetics 29 way in which the term has operated in feminist theory. Rather, contemporary discourse, through Deleuzian philosophy, asks us to think about such terms as part of contingent assemblages, machinic assemblages, and not as singular, identifiable terms. `Becoming-woman' then has nothing to do with real, physical, lived beings. It is used as an abstract term (see Chapter 4).