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Notes
Maria Walsh
Chelsea College of Art & Design
Manresa Road
London SW3 6LS
UK
E‐mail: [email protected]
Gilles Deleuze, Cinema 2: The Time‐Image, trans. Hugh Tomlinson and Robert Galeta (London: Athlone, 1989) 2.
In undertaking this hybridization of Deleuze and Merleau‐Ponty, I am deliberately running counter to positions such as Dorothea Olkowski's in Gilles Deleuze and the Ruin of Representation (Berkeley: U of California P, 1999), who is at pains to separate them. While there is undoubtedly a case to be made for their differentiation, I am claiming that there is equally a case to be made for reading them in tandem.
Margaret Morse, “Body and Screen,” Wide Angle 21.1 (1999): 64.
As well as Morse's “Body and Screen,” Yvonne Spielmann's “Aesthetic Features in Digital Imaging: Collage and Morph” in the same issue of Wide Angle (special issue, “Digitality and the Memory of Cinema”) is also suggestive on this point.
Maurice Merleau‐Ponty, The Visible and the Invisible, trans. Alphonso Lingis (Evanston: Northwestern UP, 1968) 139.
Annette Michelson, “About Snow,” October 8 (spring 1979): 116. Michelson, an influential proponent of a phenomenological approach to film in the 1970s, uses this term to signify the ideal position of the subject from which it reflects on the decentring movements of its operating consciousness. Her usage of the term derives from Jean‐Louis Baudry's essay “Ideological Effects of the Basic Cinematographic Apparatus,” trans. Alan Williams in Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen (New York: Columbia UP, 1986). Originally published in Cinethique 7–8 (1970).
For a cogent critique of such theorizing in the work of Howard Rheingold and Paul Virilio, see Elizabeth Grosz, Architecture from the Outside: Essays on Virtual and Real Space (Cambridge, MA: MIT P, 2001).
Henri Bergson, Matter and Memory, trans. N.M. Paul and W.S. Palmer (New York: Zone, 1988) 151–52.
Barbara Kennedy, “Towards an Aesthetics of Sensation. A Reconsideration of Film Theory through Deleuzian Philosophy and Post‐Feminism” (Ph.D. thesis, Staffordshire University, 2000) 50. Although Kennedy's thesis was brought out as a book shortly after submission – Deleuze and Cinema: The Aesthetics of Sensation (Edinburgh: Edinburgh UP, 2000) – the detail in the thesis is more useful for my purposes, which is why I refer to it here.
Steven Shaviro, in The Cinematic Body (Minneapolis: U of Minnesota P, 1993), takes a similar position in his appropriation of Deleuze.
Kennedy, Deleuze and Cinema: The Aesthetics of Sensation 139.
Deleuze, Difference and Repetition, trans. Paul Patton (London: Athlone, 1994) 268.
John Johnston, “Machinic Vision,” Critical Inquiry 26 (autumn 1999): 45.
Kaja Silverman highlights this notion in Béla Balázs' writings in The Threshold of the Visible World (New York and London: Routledge, 1996) 88.
As well as Marks' The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham and London: Duke UP, 2000), other recent returns to a traditional use of phenomenology in film theory include: Allan Casebier's Film and Phenomenology: Toward a Realist Theory of Cinematic Representation (Cambridge: Cambridge UP, 1991) and Vivian Sobchack's The Address of the Eye: A Phenomenology of Film Experience (Princeton: Princeton UP, 1992).
Deleuze in Dana Polan, “Francis Bacon: The Logic of Sensation” in Gilles Deleuze and the Theater of Philosophy, eds. Constantin V. Boundas and Dorothea Olkowski (New York and London: Routledge, 1994) 252. I am referring to a secondary source here as, at the time of writing this paper, Deleuze's book had not been translated into English. It has since been published by Continuum (London, 2003). Deleuze borrows the term “haptic” from the art historian Alois Reigl, who defined Egyptian art as a haptic aesthetic based on the flattening of space in the bas‐relief. For a discussion of the relation of Reigl's notion to the early cinema of George Melies see Antonia Lant's “Haptical Cinema,” October 74 (fall 1995): 45–73.
Proust in Jodi Brooks, “Between Contemplation and Distraction: Cinema, Obsession and Involuntary Memory” in Kiss Me Deadly: Feminism and Cinema for the Moment, ed. Laleen Jayamanne (Sydney: Power, 1995) 86.
Deleuze, Proust and Signs: The Complete Text, trans. Richard Howard (London: Athlone, 2000) 56.
Gaylyn Studlar, “De‐territorial Imperative” (Review of Cinema 1: The Movement‐Image), Quarterly Review of Film & Video 12.3 (1990): 105; my emphasis.
Gilles Deleuze and Félix Guattari, What is Philosophy?, trans. Hugh Tomlinson and Graham Burchill (London and New York: Verso, 1994) 164.
Gilles Deleuze, Cinema 1: The Movement‐Image, trans. Hugh Tomlinson and Barbara Habberjam (London: Athlone, 1992) 59.
See James Peterson, Dreams of Chaos, Visions of Order: Understanding the American Avant‐Garde Cinema (Detroit: Wayne UP, 1994) 74.
Snow in William C. Wees, Light Moving in Time: Studies in the Visual Aesthetics of Avant‐Garde Film (Berkeley: U of California P, 1992) 170. Snow discusses the function of the X extensively in The Central Region in an interview with John Du Cane in Studio International 186.960 (1973): 179.
Elizabeth Grosz, in Architecture from the Outside: Essays on Virtual and Real Space, uses the term “interimplication” to describe how the virtual and the real are intertwined and how relations of embeddedness need rethinking (89).
Elizabeth Grosz, Volatile Bodies: Towards a Corporeal Feminism (Bloomington and Indianapolis: Indiana UP, 1994) 94.
See Luce Irigaray, “The Invisible of the Flesh: A Reading of Merleau‐Ponty, The Visible and the Invisible, ‘The Intertwining – The Chiasm’ ” in her An Ethics of Sexual Difference, trans. Carolyn Burke and Gillian C. Gill (Ithaca, NY: Cornell UP, 1993) 151–84; and Grosz, Volatile Bodies (100–02).
Maurice Blanchot, The Infinite Conversation, trans. Susan Hanson (Minneapolis: U of Minnesota P, 1993) 120.
See Diana Coole's “Thinking Politically with Merleau‐Ponty,” Radical Philosophy 108 (July/Aug. 2001): 17–28 for a useful account of this dynamic.
Elizabeth Grosz, “Thinking the New: Of Futures Yet Unthought” in Becomings: Explorations in Time, Memory, and Futures, ed. Elizabeth Grosz (Ithaca and London: Cornell UP, 1999) 22.