Deleuze and the Schizoanalysis of Cinema (Schizoanalytic Applications)

In 1971, Deleuze and Guattari's collaborative work, Anti-Oedipus: Capitalism and Schizophrenia caused an international sensation by fusing Marx with a radically rewritten Freud to produce a new approach to critical thinking, which they provocatively called "schizoanalysis." Deleuze and the Schizoanalysis of Cinema explores the possibilities of using this concept to investigate cinematic works in both the Hollywood and non-Hollywood tradition. It attempts to define what a schizoanalysis of cinema might be and introduces a variety of ways in which a schizoanalysis might be applied. This collection opens up a fresh field of inquiry for Deleuze scholars and poses an exciting challenge to cinema studies in general. Featuring some of the most important cinema studies scholars working on Deleuze and Guattari today, Deleuze and the Schizoanalysis of Cinema is a cutting edge collection that will set the agenda for future work in this area. Contributors include: Gregory Flaxman, Amy Herzog, Joe Hughes, Gregg Lambert, Patricia MacCormack, Bill Marshall, David Martin-Jones, Elena Oxman, Patricia Pisters, Anna Powell and Mark Riley. Contents 8 Contributors 10 Introduction: Five Theses of Actually Existing Schizoanalysis of Cinema 14 1. Schizoanalysis and the Phenomenology of Cinema 28 2. Schizoanalysis and the Cinema of the Brain 40 3. Losing Face 52 4. Disorientation, Duration and Tarkovsky 65 5. Suspended Gestures: Schizoanalysis, Affect and the Face in Cinema 76 6. Schizoanalysis, Spectacle and the Spaghetti Western 88 7. Cinemas of Minor Frenchness 102 8. Delirium Cinema or Machines of the Invisible? 115 9. Off Your Face: Schizoanalysis, Faciality and Film 129 10. An Ethics of Spectatorship: Love, Death and Cinema 143 Notes 156 Bibliography 161 Index 170 A 170 B 170 C 170 D 170 E 170 F 170 G 170 H 171 I 171 J 171 K 171 L 171 M 171 N 171 O 171 P 171 Q 171 R 171 S 171 T 172 U 172 V 172 W 172 Z 172 MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict Contents 8 Contributors 10 Introduction: Five Theses of Actually Existing Schizoanalysis of Cinema 14 1. Schizoanalysis and the Phenomenology of Cinema 28 2. Schizoanalysis and the Cinema of the Brain 40 3. Losing Face 52 4. Disorientation, Duration and Tarkovsky 65 5. Suspended Gestures: Schizoanalysis, Affect and the Face in Cinema 76 6. Schizoanalysis, Spectacle and the Spaghetti Western 88 7. Cinemas of Minor Frenchness 102 8. Delirium Cinema or Machines of the Invisible? 115 9. Off Your Face: Schizoanalysis, Faciality and Film 129 10. An Ethics of Spectatorship: Love, Death and Cinema 143 Notes 156 Bibliography 161 Index 170 A 170 B 170 C 170 D 170 E 170 F 170 G 170 H 171 I 171 J 171 K 171 L 171 M 171 N 171 O 171 P 171 Q 171 R 171 S 171 T 172 U 172 V 172 W 172 Z 172 In 1971, Deleuze and Guattari's collaborative work, Anti-Oedipus: Capitalism and Schizophrenia caused an international sensation by fusing Marx with a radically rewritten Freud to produce a new approach to critical thinking, which they provocatively called "schizoanalysis." Deleuze and the Schizoanalysis of Cinema explores the possibilities of using this concept to investigate cinematic works in both the Hollywood and non-Hollywood tradition. It attempts to define what a schizoanalysis of cinema might be and introduces a variety of ways in which a schizoanalysis might be applied. This collection opens up a fresh field of inquiry for Deleuze scholars and poses an exciting challenge to cinema studies in general. Featuring some of the most important cinema studies scholars working on Deleuze and Guattari today, Deleuze and the Schizoanalysis of Cinema is a cutting edge collection that will set the agenda for future work in this area. Â Contributors include: Gregory Flaxman, Amy Herzog, Joe Hughes, Gregg Lambert, Patricia MacCormack, Bill Marshall, David Martin-Jones, Elena Oxman, Patricia Pisters, Anna Powell and Mark Riley Introduction: Five Theses of Actually Existing Schizoanalysis of Cinema, Ian Buchanan (Cardiff University, UK) 1. Schizoanalysis and the Phenomenology of Cinema, Joe Hughes (University of Edinburgh, UK) 2. Schizoanalysis and the Cinema of the Brain, Gregg Lambert (Syracuse University, USA) 3. Losing Face, Gregory Flaxman (University of North Carolina, USA) and Elena Oxman (University of North Carolina, USA) 4. Disorientation, Duration and Tarkovsky, Mark Riley (Roehampton University, UK) 5. Suspended Gestures: Schizoanalysis, Affect and the Face in Cinema, Amy Herzog (CUNY, USA) 6. Schizoanalysis, Spectacle and the Spaghetti Western, David Martin-Jones (University of St Andrews, UK) 7. Cinemas of Minor Frenchness, Bill Marshall (University of Glasgow, UK) 8. Delirium Cinema or Machines of the Invisible?, Patricia Pisters (University of Amsterdam, The Netherlands) 9. Off Your Face: Schizoanalysis, Faciality and Cinema, Anna Powell (Manchester Metropolitan University, UK) 10. An Ethics of Spectatorship: Love, Death and Cinema, Patricia MacCormack (Anglia Ruskin University, UK). Theses of actually existing schizoanalysis of cinema / Ian Buchanan Deleuze and the phenomenology of cinema / Joe Hughes Schizoanalysis and the cinema of the brain / Gregg Lambert Losing face / Gregory Flaxman and Elena Oxman Disorientation, duration and Tarkovsky / Mark Riley Suspended gestures : schizoanalysis, affect, and the face in cinema / Amy Herzog Schizoanalysis, spectacle and the spaghetti western / David Martin-Jones Cinemas of minor Frenchness / Bill Marshall Delirium cinema or machines of the invisible? / Patricia Pisters Off your face : schizoanalysis, faciality and cinema / Anna Powell An ethics of spectatorship : love, death and cinema / Patricia MacCormack. This title opens up a fresh field of enquiry for Deleuze scholars and poses an exciting challenge to cinema studies in general