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Daniela Angelucci - Deleuze and the Concepts of Cinema, Häftad

Häftad, Engelska, 2014

Deleuze and the Concepts of Cinema

Deleuze Studies Volume 8, Number 3

Av Daniela Angelucci

Del i serien Deleuze Studies Special Issues

285 kr

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Presented as part of this special issue of Deleuze Studies is the complete text of Daniela Angelucci’s book Deleuze e i concetti del cinema. Translated by Sarin Marchetti, Deleuze and the Concepts of Cinema takes up Deleuze’s idea that the true objects of the theory of cinema are the concepts that cinema generates when understood as a practice of images. In this sense, philosophy alone is able, as Deleuze argued, to ‘constitute the concepts of cinema itself’. Deleuze and the Concepts of Cinema is both a significant exploration of some of Deleuze’s key concepts, as well as an excellent introduction to Deleuze’s Cinema books, aiming to avoid, as Deleuze himself once claimed, a double reproach: namely, both excessive erudition –which makes the reading complicated and tedious– and exaggerated familiarity.
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Daniela Angelucci is Lecturer of Aesthetics at the Department of Philosophy, Comunicazione, Spettacolo at University of Roma Tre. Sarin Marchetti is IRC postdoctoral fellow at University College Dublin. He earned his PhD at Sapienza Università di Roma, and has been visiting scholar at Columbia University. His main intellectual interests lie in ethics, metaphilosophy, and the history of concepts, with an unquenchable thirst for cinema and literature. He has a forthcoming monograph on William James and is currently working on a project on pragmatist and Wittgensteinian moral philosophy. After sunset he dismisses the clothes of the scholar and wears the ones of the translator, although the two share more than a garment. In such capacity he is currently editing and translating James's The Will to Believe into Italian as well as translating a book on Kant's practical philosophy into English. He is also assistant editor of the European Journal of Pragmatism and American Philosophy and occasional reviewer for Paradigmi.

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Angelucci’s Deleuze and the Concepts of Cinema provides a succinct and lucid introduction for the newcomer to Deleuze’s Cinema books, unpacking his complex ideas about film and their roots in his earlier works on Bergson and Nietzsche. More than this, the final chapters offer original new insights for the field. Angelucci’s analysis of Chilean director Raúl Ruiz’s under-explored films in relation to the simulacrum, and her exploration of sadism (after Deleuze’s earlier work, Coldness and Cruelty) in The Most Dangerous Game (1932), truly standout in this respect. A wonderful new addition, this welcome translation represents an opportunity for Deleuze Studies globally to encounter recent scholarship on Deleuze and cinema from Italy.Professor David Martin-Jones. Editor, deleuzecinema.com

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