Deleuze & Cinema

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.

This work outlines a new methodology for film analysis based on the radical materialist thought of Baruch Spinoza, re-evaluating contemporary cognitive media theory and philosophical theories on the emotional and intellectual aspects of film experience.
Sticchi’s exploration of Spinozian philosophy creates an experiential constructive model to blend the affective and intellectual aspects of cognition, and to combine it with different philosophical interpretations of film theory. Spinoza’s embodied philosophy rejected logical and ethical dualisms, and established a perfect parallelism between sensation and reason and provides the opportunity to address negative emotions and sad passions without referring exclusively to traditional notions such as catharsis or sublimation, and to put forth a practical/embodied notion of Film-Philosophy. This new analytical approach is tested on four case studies, films that challenge the viewer’s emotional engagement since they display situations of cosmic failure and depict controversial and damaged characters: A Serious Man (2009); Melancholia (2011); The Act of Killing (2012) and Only Lovers Left Alive (2013).

Automata (2014), is a dystopian film that reveals postmodern tendencies around the materialization and conceptualization of Gilles Deleuze and Félix Guattari’s  philosophical notions like territority, deterritorialization, reterritorialization. Deterritorialization becomes the key element of the film as it describes displacement, emplacement and replacement of human and automata in both geographical and individual aspects. Humans emigrate from radioactive places to narrow zones, also from human to automaton which becomes more human than human. On the other hand automata move over inversely from narrow zones to radioactive places, from slavery to freedom and from automata to human.
This paper discusses the future design of Automata, in which human beings and automata, the innate and design reciprocate roles, focusing on its content built by many deterritorializations and reterritorializations between biological, geographical, intellectual and ideological territories. It explores the film as a cultural text revealing a postmodern discourse through its transitions between territories and searches the meaning of this transition as a postmodern fact both in positive and negative aspects. It searches viability and importance of these notions in a postmodern reality and analyzes how Automata uses them through its content.

This essay engages the history and aesthetics of slow, contemplative cinema, while drawing on the film-philosophy of Gilles Deleuze. In particular, this essay examines the expressive motif of the "miracle" in two examples of contemplative cinema, Dreyer's Ordet and Reygadas's Silent Light.

slow cinema, slowness, reflexivity, Reygadas, Dreyer, Gilles Deleuze

Christopher Nolan diagnoses a death drive impulsing our civilisation and its tenacious push towards governance by hyper-surveillance and towards climate catastrophe. He finds this death drive within our technocratic hubris intending to « fix » everything by means of social engineering and now by geo-engineering. The hyperbolic image of this techno-fix is the Algorithm. Nolan's proposed solution is to reverse the algorithmic reversal of desire into drive, to resist the full calculability of desire, to operate on a faith outside techno-nihilism. He invites us to de-algorithmise desire and to tenetise the future.

Ingmar Bergman’s Persona (1966) is, undoubtedly, one of the most influencing films in the history of cinema. Its plot, montage, and direction, apart from being unprecedented, are unusually open to interpretation. Numerous theoretical approaches have been made to decipher or highlight the content of the film, yet not in the theoretical framework of Phenomenology and Ethics.  In my dissertation, I have examined the gradual collapse of the face as we see it in the familiar merging shot of Elisabet’s and Alma’s faces, highlighting elements that have remained mostly unrecognized by the prevalent literature: the child which appears in the film and is present to both  Elizabet’s and Alma’s stories and the iconic picture of World War II  of Warsaw Ghetto Uprising “Forcibly pulled out of bunkers”. The Deleuzian film theory of the affection-image, Jean-Paul Sartre’s phenomenology of the look as manifested in Being and Nothingness, and Paul Ricoeur’s concept of narrative identity was the theoretical framework in which I investigated the collapse of the Face. As a way of reconstructing the Face, I demonstrated, on the one hand, the first-person narrative in the example of Primo Levi’s If This is a Man, and on the other hand, the experience of Otherness through Emmanuel Levinas’ metaphysics.

Henri-George Clouzot’s The Mystery of Picasso (1956) and Lars von Trier’s and Jørgen Leth’s The Five Obstructions (2003) are celebrated experimental documentaries on the creative process in the visual arts and cinema made (or co-made) by renowned narrative film auteurs. Ludic exercises in on-and off-screen cinematic co-creation, together they foreground creativity and its constraints; artistic style and authorship; and filmmaking as simultaneously a means of personal expression and a collaborative enterprise. The main concerns of this article, both films are also marked by an overlapping self-reflexivity, intermediality, and formal hybridity, rooted in their innovative incorporation – or “nesting” – of pre-existing and in-progress art works (films, paintings, drawings). Focused on multiple forms of reflexivity and a distinctly process-based incorporation of works-within-the-work, juxtaposition of the films sheds new light on these dynamics generally, as well as on the styles and careers of Clouzot and Picasso, Leth and von Trier.

This essay argues that the popular but banned Iranian comedy, Marmoulak/The Lizard (Kamal Tabrizi, Iran, 2004) troubles the distinction between Deleuze’s movement- and time-image categories. The essay also compares Deleuze’s work with that of Iranian philosopher Abdolkrim Soroush, arguing that both have in common a philosophy of becoming. Given that The Lizard has been read in the light of Soroush's work, and given that the two philosophers share becoming as a central tenet of their philosophy, the essay suggests that a Deleuzian reading of The Lizard is not inappropriate even though he is, so to speak, from the West and The Lizard is from the Middle East. Indeed, the essay also argues that not only can Deleuze help us to understand The Lizard but that The Lizard can also help us to understand Deleuze - by suggesting, as per a refrain oft-repeated in the film, that there are as many paths to the time-image as there are films in the world.

Casablanca dans WWW : What a Wonderful World (2007) et Tétouan dans Mort à vendre (2013) sont représentées comme des villes fermées qui emprisonnent les personnages, ceux-ci n’ayant aucune prise sur elles. Plus qu’à l’enfermement, Bensaïdi s’intéresse au fort désir de changement et d’action de ses personnages. Se crée ainsi une tension entre, d’un côté, cet élan qui les anime et, de l’autre, la nature de leur monde, inaccessible et impénétrable. De cette tension découle une subtile évolution au sein même de situations tout à fait sans issue, une évolution qui touche l’intériorité des personnages mais aussi les villes qu’ils habitent, un devenir mutuel et réciproque.

Pour citer cet article :
Mariam El Ajraoui,« Le devenir cinéma de la ville chez Faouzi Bensaïdi, Casablanca dans WWW : What a Wonderful World et Tétouan dans Mort à vendre » in José Quaresma (coordination), Chiado, Carmo, metropolis et u-topie. Les arts dans la sphère publique. Lisbonne, éditions Associação dos Arqueólogos Portugueses, 2016.  pp 173-183.

With its persistent techno beat, its dynamic title character with her flamingly red-dyed hair, its kinesthetic appeal, its abundance of visual modalities, its temporal complexity, Run Lola Run (Lola rennt 1998, Tykwer) can be regarded a representative of the transformations in spectatorial address witnessed in contemporary 'puzzle-films' (cf. Buckland 2009), 'neuro-images' (cf. Pisters 2012) or 'complex narratives' (cf. Simons 2010).   
In Cinema 2 (2005 [1985]) Gilles Deleuze famously proclaimed that the Bergsonian conception of memory had found its expression in modern(ist) cinema, and encapsulated this in the dictum: "Memory is not in us, it is we who move in a Being-memory, a world-memory (Deleuze 2005 [1985], 95)." In this paper it is argued that contemporary cinema does something similar; however, this time with an emphasis on narration. No longer offering 'illusions of reality' but rather 'realities of illusion' (cf. Pisters 2012), it is argued that with contemporary 'complex' cinema narrative is not in us, but it is we who move in a Being-narrative, a world-narrative. Such a conception of 'complex narratives' open up for a productive encounter between the often polarised positions of Deleuzian film-philosophy and cognitive film science.
Yet, it prompts a departure away from the computational 'classical sandwich' conception of cognition (cf. Hurley 1998), which governs the cognitive-formalist assumption that the spectator's comprehension of the narrative is "theoretically separable from his or her emotional responses (Bordwell 1985, 30)." In order to promote a more embodied conception of spectatorship a reconstruction of the concept of the fabula is proposed. In short, rather than regarding the fabula as a coherent, linear and causally ordered representation of the narrative, it shall be understood as a dynamic and enactive tool, which spectators utilise to navigate narrative environments. It is thus assumed that narratives are best understood as complex systems; i.e. that a narrative cannot be properly understood as merely the sum of its parts or 'modules' once these have been broken down and temporally reorganised according to a causal-linear logic of the fabula.
As a means of comprehending the dynamical interplay between the cinematic material, and our cognitive and affective engagement with this, the paper follows John Protevi's (2010) proposal to combine Deleuzian philosophy, embodied cognitive (neuro)science, and dynamical system theory. The hope is that this amalgamation may support an enhanced understanding of how 'complex narratives' such as Run Lola Run prompt an embodied and enactive cinematic experience.

The most original and shocking interpretation of Lucretius in the last 40 years.

Thomas Nail argues convincingly and systematically that Lucretius was not an atomist, but a thinker of kinetic flux. In doing so, he completely overthrows the interpretive foundations of modern scientific materialism, whose philosophical origins lie in the atomic reading of Lucretius' immensely influential book De Rerum Natura.

This means that Lucretius was not the revolutionary harbinger of modern science as Greenblatt and others have argued; he was its greatest victim. Nail re-reads De Rerum Natura to offer us a new Lucretius--a Lucretius for today.

A Short Informal Talk

Tenet is a film by Christopher Nolan. We relate it to the Syntheses of the Unconsicous of Deleuze and Guattari, Zizek's non-orientable surfaces, and the kinds of Being as well as the Aspectual Field.

Draft Diagrams are included.

Audio File TenetTalk20210425Sterio4CH000I_NormedEdited01
See https://www.mediafire.com/file/jq42bqqpwdk04sd/TenetTalk20210425Sterio4CH000I_NormedEdited01.mp3/file (some places difficult to hear)

In the wake of mass calamity, one can discern emergent specters of collective memory, trauma, and mourning over human death as well as the destruction of human dwellings. In the Philippines, a former Spanish and U.S. colony, recent history is resplendent with all manner of cataclysms-from natural disasters (earthquakes, typhoons) to mass destruction during war (Spanish-American War and World War II). This essay is concerned with the ways in which dreams and the dead are not just after-effects of events in linear-time nor exclusively human affects. Drawing on scholars of experimental ethnography and postcolonial film theory converging on Gilles Deleuze's "time-image", dreams authored by the dead here are engaged as agentive fabulators on decay, destruction, and loss-first on the local level of experiencing disaster but further connecting that more broadly to loss of heritage sites and the possible future prospect of serial calamity augured by neoliberal development and climate change in the Pacific. Tan-awa ang kapunawpunawan. Look at the horizon Bunok ba o delubyo ang nagpadulong Is that a cloudburst or a deluge coming O ang uhaw nga kaugan sa hulaw? Or the thirst that goes with the drought? Unsaon pagbasa ag panganod How do you read the clouds Kon ang daang kaalam wala na mag-uyon When ancient wisdom no longer holds, Sa Lakaw sa panahon? Is left behind as time unfolds? Naputos og dag-um ang kalibutan Darkness shrouds the world. Dan-agi ang among dalan Star of morning Ipalayo mi sa katalagman Light our path Take us away from our calamity-"Unsaon Pagbasa ang Panganod?/How do you Read the Clouds?" by Grace Monte de Ramos (2014) Everything that has been shattered under the conditions of modernity has been shattered by the dream and its transcription.

This thesis mainly deals with repetition in film form. Repetition which is a key concept shows itself in many different forms. In philosophy there are several perceptions at stake. In art forms in which it is structured systematically repetition is one of the basic elements. As for film form, there are concepts that help us to understand the function of it. The basic concern of this thesis is constructing three basic repetition types by grounding on the perceptions of repetition in philosophy by also using basic concepts of repetition in film form. These types of repetitions in film form are specified as informative, constructive and poetic repetitions. As the case study, the films of Kim Ki-duk who is an amateur-auteur director with a unique cinematic style are analyzed on the ground of these constructed types.

Based on the Deleuze and Guattari Quarantine Collective

-- How to participate in a Reading Group on Discord to Read your favorite Philosophical Books with others from around the World

-- Abstract: Explanation of Discord Reading Groups on Philosophy

-- Key Words:  Discord, Reading Group, Philosophy, Deleuze, Guattari, Continental Philosophy

New version 20200614

Although the very existence of neorealism has been under scrutiny at least since the 1950s, an obstinate outlook on Italy's cinema history still reduces all national films to anticipations, prolongations, or betrayals of this elusive new wave. Why is this the case?

In this article, I explain the persisting critical hegemony of neorealism from the point of view of ideology critique. I argue that Bazin's and Deleuze's influential accounts of neorealism as a revolutionary, anti-narrative, zero-degree cinema have streamlined the fantasy of an innocent post-war Italy, of a child-like nation that redeemed itself from its past and was ready to start afresh. In this light, I suggest that the attachment to neorealism ought be recognized as a collective defense mechanism repressing the aborted "de-fascitizzazione" of Italian post-Fascist society.

Keywords: Neorealism, Fascism, Deleuze, Bazin, film theory & history, ideology, historical guilt, trauma

The paper focuses on 3-Iron, a film considered pivotal in Kim Ki-duk's body of work. The purpose of this paper, 15 years after 3-Iron's release and therefore a considerable literature on the subject, is to distinguish itself as an interpretation rather than a critique. Therefore, this paper examines 3-Iron through Eco's theory of textual cooperation, Deleuze's concept of affection-image and Foucault's idea of heterotopia. I will argue that 3-Iron is an open text which forecasts a Model Reader capable of constructing its own fabulaes. Ultimately, 3-Iron marks a turning point in the director's filmography, as in it represents the coexistence between identity and alterity, rather than portraying the ressentiment of the resisting body as done in prior films.

This book offers a much-needed new political theory of an old phenomenon. The last decade alone has marked the highest number of migrations in recorded history. Constrained by environmental, economic, and political instability, scores of people are on the move. But other sorts of changes—from global tourism to undocumented labor—have led to the fact that to some extent, we are all becoming migrants. The migrant has become the political figure of our time.

Rather than viewing migration as the exception to the rule of political fixity and citizenship, Thomas Nail reinterprets the history of political power from the perspective of the movement that defines the migrant in the first place. Applying his "kinopolitics" to several major historical conditions (territorial, political, juridical, and economic) and figures of migration (the nomad, the barbarian, the vagabond, and the proletariat), he provides fresh tools for the analysis of contemporary migration.

What is the relationship between Foucault’s concept of biopower and Deleuze’s concept of control? Despite the similarities between these two concepts, there is not a single scholarly article that solely thematizes this question, nor a comparative survey of the answers given so far. This essay aims to fill this lacuna. Drawing on Deleuze's unpublished and untranslated lectures on Foucault, the original thesis of this essay is thus that biopower and control are the same concept of power in both content and form.

« La philosophie de Deleuze trace une ligne de partage stricte entre la religion, qui renvoie à une transcendance, et la philosophie, qui s’installe dans l’immanence, semblant exclure par-là même la foi du champs philosophique. Pourtant, lorsqu’en 1985, Gilles Deleuze explique en quoi consiste le problème moderne, il réclame une croyance ou une foi. Cet article cherche à comprendre comment une philosophie de l’immanence, comme celle de Deleuze, peut réclamer une croyance ou une foi, et donc, comment il est possible de penser la foi en régime d’immanence. »

“Deleuze’s philosophy draws a strict partition between religion, which refers to a transcendence, and philosophy, which develops in immanence, appearing to exclude faith from the philosophical field. However, when, in 1985, Gilles Deleuze explains the modern problem, he claims a belief or a faith. This paper tries to understand how a philosophy of immanence, such as Deleuze’s one, can claim a belief or a faith, and therefore, how it is possible to think faith in immanence plan.”

In short, this essay does for the concept of the assemblage what Deleuze and Giorgio Agamben did for Foucault in their essays on the dispositif: it extracts from a large body of work the core formal features of its operative methodology or logic.

This article argues that video technology plays a decisive role in Godard’s double movement toward the “cinematic” and the “post-cinematic” as demonstrated in his videographic essay Histoire(s) du Cinéma. It claims that Godard’s videographic refashioning of cinema in the technical, ontological, and philosophical manners necessarily involves bringing cinema to its limits. As this article will discuss in the ensuing two parts, video’s material and technical elements transform the methods of cinematic montage and the ontological status of the films extracted from disparate sources extensively. As a result, video in Histoire(s) ultimately serves both as a tool for the postcinematic expansion of montage and as a “synthesizer” of discrete images (films, paintings, photographs) and soundtracks whose affiliated media are originally distinct from each other.

"This study of popular Indian cinema in an age of globalisation, new media, and metropolitan Hindu fundamentalism focuses on the period from 1991 to 2004. Popular Hindi cinema took a certain spectacular turn from the early nineties as a signature 'Bollywood style' evolved in the wake of liberalization and the inauguration of a global media ecology in India. Films increasingly featured transformed bodies, fashions, life-styles, commodities, gadgets, and spaces, often in non-linear, 'window-shopping' ways, without any primary obligation to the narrative. Flows of desires, affects, and aspirations frequently crossed the bounds of stories and determined milieus. One example is the film Haqeeqat that featured poor working class protagonists, but romantic musical sequences transported them abruptly to Switzerland, with the actors now dressed in designer suits. Basu theorises this overall cinematic-cultural ecology here as an informational geo-televisual aesthetic.

This book connects this filmic geo-televisual style to an ongoing story of the uneven globalizing process in India. Basu argues that 'Bollywood' is not so much indicative of a uniquely Indian modernity coming into its own; rather it is symptomatic of a pure techno-financial modernization that comes without a political modernity. Bollywood in the Age of New Media therefore explains how the irreverent energies of the new can actually be tied to conservative Brahminical imaginations of class, caste, or gender hierarchies. Using a wide-ranging methodological approach that converses with theoretical domains of post-structuralism, post-colonialism, and film and media studies, this book presents a complex account of an India of the present caught between brave new silicon valleys and farmer suicides.
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The hegemonic meaning of depression as a universal mental illness embodied by an individualized subject is propped up by psychiatry’s clinical gaze. Cinemas of Therapeutic Activism turns to the work of contemporary filmmakers who express a shared concern for mental health under global capitalism to explore how else depression can be perceived. In taking their critical visions as intercessors for thought, Adam Szymanski proposes a thoroughly relational understanding of depression attentive to eventful, collective and contingent qualities of subjectivity. What emerges is a melancholy aesthetics attuned to the existential contours and political stakes of health.

Cinemas of Therapeutic Activism adventurously builds affinities across the lines of national, linguistic and cultural difference. The films of Angela Schanelec, Kelly Reichardt, Apichatpong Weerasethakul and Kanakan Balintagos are grouped together for the first time, constituting a polystylistic common front of artist-physicians who live, work, and create on the belief that life can be more liveable.

Sunum Başlığı: "Üçüncü Sinema Hareketi'nde Öznellik Üretimi", Moderatör: Esra İlkay İşler

Üçüncü Sinema Hareketi, Latin Amerika’da, sosyalist ve anti-kolonyalist hareketlerin güçlendiği 1960’lı yılların sonlarında, bu hareketlerle bağlantılı olarak ortaya çıkmıştır. Latin Amerika’da faaliyet gösteren bu devrimci hareketlerin ortak amaçlarından biri, yeni bir devrimci öznenin üretilmesidir. Üçüncü Sinema Hareketi’nin, bu bağlamda, yeni öznellikler üretme amacını sinema aracılığıyla gerçekleştirme çabasının bir ürünü olduğunu iddia etmek mümkündür.
Üçüncü Sinema Hareketi’nin ve ilk filminin (The Hour of the Furnaces, 1968) yaratıcıları olan Fernando Solanas ve Octavio Getino’ya göre Üçüncü Sinema (Devrimci Sinema), hem yıkan hem de kuran bir sinemadır. Üçüncü Sinema, kapitalizmin kendisine dair yarattığı imgeyi yıkarken, yeni bir gerçekliğin ve yeni öznelliklerin de üretilmesini içermektedir.
“Actuality”, “virtuality”, “affect”, “movement-image” ve “time-image” gibi Deleuzcü kavramlar, Üçüncü Sinema Hareketi’nin eğilimlerinin, amaçlarının ve bu amaçların ne ölçüde gerçekleştirilebildiğinin anlaşılması için gerekli olan analitik araçları sağlamaktadır. The Battle of Chili (Patricio Guzman, 1975) ve The Hour of the Furnaces (Fernando Solanas and Octavio Getino, 1968) gibi Üçüncü Sinema Hareketi’ne dahil olan filmlerin Deleuzcü bir incelemesi, bu filmlerin yönetmenlerinin, imgelerle nasıl düşündüklerini ve filmlerinde yarattıkları “affect”leri açığa çıkaracaktır.
Üçüncü Sinema Hareketi’ne dahil olan yönetmenler, filmlerinde kullandıkları “movement-image”lerle dünyanın filli durumunu gözler önüne sererlerken, “time-image”lerle de izleyicilere, dünyanın ve kendilerinin virtual gerçekliklerini göstermeye çalışmışlardır. Bahsi geçen filmlerde yaratılan “affect”ler ise bir bütün olarak izleyicilere, actuality ile virtuality arasında yeni bir ilişki kurma biçimi önermekte ve bu şekilde izleyicilerde yeni öznelliklerin üretilmesini sağlamaktadır.
Bu bağlamda, bu çalışmanın iki ayrı ancak ilişkili amacı olduğu söylenebilir; (1) Üçüncü Sinema Hareketi’nin eğilimlerinin, bu harekete dahil olan yönetmenlerin imgelerle düşünme biçimlerinin, filmlerin “affect”lerinin açığa çıkarılması ve (2) bu “affect”lerin yeni öznellikler üretimi ile ilişkisinin kurulması.
Anahtar Kelimler: Üçüncü Sinema, Deleuze, Özne, Öznellik, Affect, Actuality, Virtuality, Movement-Imge, Time-Image.

By means of Vivian Sobchack's semiotic film phenomenology, we may examine our immediate perceptual acts in film experience in order to determine the ways that the primordial language of embodied existence found at this primary level grounds the secondary level of the more explicit interpretations we give to the film's elements. Although Gilles Deleuze is openly defiant toward the phenomenological tradition, his studies of film experience can serve this purpose as well, because he is interested in the direct and pre-verbal significance of cinematic images. To bring his observations more fruitfully into film phenomenological studies, I will examine his notion of the discordantly operating body and as well offer a phenomenological interpretation for his notion of cinematic signs. I then apply this Deleuzian semiotic film phenomenology to his analysis of deep focus cinematography in Orson Welles' Citizen Kane (1941). When watching one particular scene, different layers of our film experience, namely, those of visual and of temporal depth, collide in such a way that they provide the phenomenal basis for us to produce a temporal interpretation of the spatial relations held between the displayed images.

This paper reads the film Omkara as an instance of adaptation that rejects conventional means of reading adalaton through questions of mimesis, fidelity and success, opting instead to read adaptation as a Deleuzian 'becoming other's. The chosen approach to adaptation embraces fluidity, hybridity and multiplicity arguing that not only does an adapter text re-write the 'original' but also demystifies the idea that there is a single, stable original text. It highlights instead the importance of reading texts as multiple, transformative as inter-cultural dialogic and diegetic sites.

Gilles Deleuze indicates philosophy as a concept-inventing discipline. The art of film, Deleuze argues, through utilizing its characteristic elements, meaning images, produces affect and thought, in a similar way to philosophy creatively. In this sense, it can be said that film
possesses the ability of thinking with images. Similar to that of a philosopher, a filmmaker creates meaning by using the materials present in his thought. Deleuze reconstructs the practice of film as a subjective activity in which thought is elevated from its plane and is in motion. In
this way, film invents a visual universe in which thought is uncovered through images. Deleuze generates a categorization of visuals through developing Bergson’s movement-image and timeimage concepts in film; an attempt at the classifications of images and signs. In the work at
hand, by building on the two volumes of The Movement-Image and The Time-Image by Deleuze, a philosopher’s confrontation with film or, in other words, his network of thought that’s set in motion in parallel with film is delineated.

Deleuze felsefesinin özü varlık değil oluş üzerine kuruludur. Kapitalizm ve Şizofreni metninin ikinci cildi olan Bin Yayla da Deleuze oluş’u akışın, sürekli değişimin, bir şeyden başka bir şeye dönüşmenin değil, başka bir şey olma hali olarak tanımlar.
Oluşun kavramsal bir soyutlama ve gündelik hayat içindeki yansımalarını anlamak için molar ve moleküler çizgiler tanımlamasını anlamak olukça önemlidir. Çünkü çizgiler ve kaçış hareketleri ilk ve en temel olandır. Molar çizgi toplumsal bağlantıları bölen, tasnifleştiren, düzenleyen ve hiyerarşik bir yapıya dönüştüren bir yapıdır. Bu nedenle ayrımlama ve ötekileştirme mantığı üzerine kuruludur. Moleküler çizgi ise akışkandır ve farklı alanlarla ilişki ve bağlantı kurar. Bu nedenle moleküler olan geçiş ve bağlantılar kurarak çoğullaşmanın önünü açar.
Deleuze Kadın-oluş kavramını Bin Yayla’da molekülerleşmenin bir uzantısı olarak kavramsallaştırır.  Bu metinde, molar bir oluşum olarak tanımlanan kadının moleküler bir oluşum içinde nasıl dönüşüm geçireceği üzerinde durur. Cinselliğin belirli bir tanımlama içinde ve cinslerin ikiliği üzerinde kurulması mantığına karşı çıkar ve çoğullaşmayı ön plana çıkarır. Cinsellik bir çokluk olarak tanımlanmalıdır ve cinsiyetler, erkek, kadın, kadındaki erkek, erkekteki kadın olarak değil, her birinin bitkiyle, hayvanla ve diğer oluşlarla birlikte var olmasıdır.  Deleuze ve Guattari bunu A Thausand Plateu’da “bin minik cinsiyet” olarak tanımlar. Bu bağlamda Deleuze-Guattari kadın oluşu sadece kadın var oluşu olarak değil, her türlü varoluşun temeli olarak görür. Erkek-oluş da öncelikle kadın oluşla mümkündür. Farkları indirgeyerek yaşamın olumlama mantığını tüketen merkezi mantığın aksine, yaşamın çokluğunun ve farklılaşma gücünün dönüştürme potansiyeline vurgu yapar. Dolayısıyla kadın oluş yaşamın her alanına uzanır. Yaşamın kendisini olumlayan ve dönüştürme potansiyeli taşıyan paradigmatik bir bakış açısıdır.
Bu çalışma; Deleuzeyen perspektifte önemli bir yere sahip olan kadın-oluş kavramını, Yeni Türk Sineması içinde kadın-oluşa örnek olarak gösterebileceğimiz Pelin Esmer Sineması ve İşe Yarar Bir Şey filmi üzerinden içerik analizi yöntemiyle çözümlemeyi hedeflemektedir.  Kadın- oluş ve İşe Yarar Bir Şey arasındaki ilişki filmin, kadın anlatısı üzerinden kurulması, farklı kadın oluşları barındırmasının yanı sıra, filmin sinematografik bakış açısı düzeyinde ana akım sinemanın dışında bir anlatıma sahip olması dolayısıyla oluşun içindeki çoğullaşmaya uygun olmasıdır. Bu bağlamda çalışma Deleuzeyen oluşla sinema arasında ki moleküler çizgiler hattını takip ederek, felsefe ve ve sinema arasında bir çoğullaşma potansiyelini ortaya çıkarmayı öngörmektedir. Bu çoğullaşma çizgileriyle ilgili bulgular ve bu bulguların yorumlanması sinemanın kadın-oluş perspektifinden okunmasını ve farklı kadın oluş çizgilerine olanak vermesi sonucunu doğurması nedeniyle önemli bir alan açabilecek niteliktedir.

The professional projects of Donna Haraway, a third-wave feminist, and Alexander McQueen, an avant-garde fashion designer, show remarkable convergence in their appropriative, purposeful blurring of the distinction between the natural and technological thereby disclosing what constitutes truth for both figures; namely, to be duped. The title of this presentation, HaraQueen, is a portmanteau of their last names that points precisely to this fact. HaraQueen is also a type of homophone - horror queen - that holds in concert the contradistinctive semantics of these two words: horror meaning an affection of disgust, revulsion, and dread, and queen meaning the status of divine right, potentate, and sovereign; not under the sign of the same, but in all their distinctive g(l)ory such that difference is honored. The aesthetic of McQueen exemplifies the ability, through his fashions, to recode the body in such a way as to upend what might be considered natural or beautiful. This commentary on the herd mentality of beauty - the patriarchal objectification of the female body as sex object - exposes the body as up for grabs, as a site of disputation. Coupled with his love of nature, this makes for an ironic paradox that punctures the dialectic, natural-technical, rendering it leaky and, yet, preserves the two dichotomies as indissoluble. Concomitantly, Haraway is committed to an analogous trickster methodology. As a trained biologist, her professional scholarship is infused with articulating a primordial being-with-others (e.g., technology, animals, humans, etc.) that comes from studying the radical anti-anthropomorphism of biological discourse. Most famously, she initiated cyborg studies as a way to envision a non-instrumentalist relationship with technologies as well as to inhibit said technologies critically. The site at which the confluence between Haraway and McQueen reaches its climax is in McQueen’s spring / summer 2001 show VOSS. This particular fashion show captures the sine qua non of both of their methodologies: the duping of the hegemonic other. What is so clever about VOSS is that the elephant in the room had been there the whole time but nobody knew there was an elephant - the elephant only came into being once the duping had occurred. Such a reveal generates an affective aesthetic by walking the razor's edge of camp and couture, being at once monstrous and enchanting; slip and the position either falls into either extreme otherness or reifies current norms. The audience members at VOSS were left with a feeling of being unnerved and unsettled, of not-being-at-home. The interface between Haraway and McQueen has implications for various strands of critical psychology. Although critical studies in psychology have tended to ally with social constructionism and reject any kind of foundational realism, the interface between Haraway and McQueen builds a bridge over the abyss between these two antinomies. This reading of VOSS demonstrates that trickster strategies can flank the iron curtain of metonymy and breach it through artifice: claims can be made about the world even if given indirectly through wit, humor, or irony.