By C. Gardner
An expressive discussion among Deleuze's philosophical writings on cinema and Beckett's cutting edge movie and tv paintings, the booklet explores the connection among the delivery of the development – itself a simultaneous invention and erasure - and Beckett's makes an attempt to create an incommensurable house in the interstices of language as a (W)hole.
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Additional info for Beckett, Deleuze and the Televisual Event: Peephole Art
She makes the logical conclusion that Deleuze has moved out of a Bergsonian ontology into a directly Nietzschean one: ‘it is to Nietzsche that Deleuze intends to graft the cinema, a Nietzsche for whom the circular becoming of time precipitates (as it does in modern cinema) short-circuits, bifurcations, detours, and irrational divisions, where the notion of intensity is substituted for that of truth’ (Ropars-Wuilleumier, 1994, p. 256). Post-war cinema is thus marked by a paradoxical time, a circuitous temporality of repetition and eternal return, whereby the logic of sense is itself the logic of paradox, for ‘Sense confirms itself only in the experience of nonsense, because it expresses itself only in a language that, while speaking, runs after the sense of what it says’ (Ropars-Wuilleumier, 1994, p.
167). Thought, in other words, as a pure event that is forever lost in the aporias of time. 2 Beyond Percept and Affect: Beckett’s Film (1964) and Non-Human Becoming Film, Samuel Beckett’s 1964 experimental short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal, albeit transitional, text in the latter’s overall cinematic taxonomy. Deleuze uses it as a reverse proof of the three varieties of movement-image through their progressive extinguishing or exhaustion, moving in reverse order from the action-image, through the perception-image, to the affect-image.
Here, imagination is forced to confront its own non-limit as the unimaginable and unnamable, the unformed or deformed nature, in short, a confrontation of the infinity of the sublime. Within this model, Hegel’s thought as recognition and the form of common sense are obviously found wanting. Significantly, Deleuze’s conflation of thought with the tropes of the imagination, the phantasm or ghost, memory and the temporal, mirrors the very turns of phrase associated with the Bergsonian image. Time, Cinema and the Incommensurable 37 V Deleuze’s founding of thought on the image, rather than its Hegelian inverse, finds a powerful ally in Heidegger.
Beckett, Deleuze and the Televisual Event: Peephole Art by C. Gardner