Deleuze’s Cronosigns

Viegas, Susana

doi:10.4324/9780429435157-5

Cited by 2 publications

(1 citation statement)

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“…We distinguish two different approaches to Deleuze's philosophy on cinema. 3 The first mobilises Deleuze's film philosophy as an analytical tool when analysing examples from film (Pisters, 2003;Colman, 2011;Viegas, 2019). The second approach applies Deleuze's cinematic thinking to education.…”

Section: Gilles Deleuze: a Reception Of Images Without A Subjectmentioning

confidence: 99%

Reconfiguring the use of video in qualitative research through practices of filmmaking: A post-qualitative cinematic analysis

Menning,

Murris

2023

Qualitative Research

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The article shows how film can disrupt human-centred discourses about the use of video technology in qualitative research. Inspired in particular by Deleuze's film philosophy, a detailed analysis of an “ordinary” event in an early-childhood institution gestures at some of the possibilities that the manipulation of technology can offer. Filmmaking practices, such as framing, tracking, speed changes, reverse motion and use of sound, shape what counts as “data” and offer alternative modes of analysis that include more-than-human bodies. These playful techniques draw attention to how video technology can play a democratising role in qualitative research by paying more attention to the digital, the sensory and the visual and relying less on language as the mode of enquiry. Grounded in post-qualitative approaches of performativity, we indicate the radical implications of the ontological and epistemological paradigmatic shift in agency and causality when disrupting anthropocentrism in qualitative research.

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Section: Gilles Deleuze: a Reception Of Images Without A Subjectmentioning

confidence: 99%

Reconfiguring the use of video in qualitative research through practices of filmmaking: A post-qualitative cinematic analysis

Menning,

Murris

2023

Qualitative Research

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Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time

Viegas

2023

Film-Philosophy

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This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori.

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Deleuze’s Cronosigns

Cited by 2 publications

References 1 publication

Reconfiguring the use of video in qualitative research through practices of filmmaking: A post-qualitative cinematic analysis

Reconfiguring the use of video in qualitative research through practices of filmmaking: A post-qualitative cinematic analysis

Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time

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