Camering: Fernand Deligny on Cinema and the Image

Marlon Miguel works at the project ‘Madness, Media, Milieus’ at the Bauhaus-Universität Weimar. He holds a double PhD in Fine Arts (Université Paris 8) and Philosophy (Federal University of Rio de Janeiro). He is responsible for the organization of Deligny’s archives stored at the Institut Mémoires de l’édition contemporaine.

" A long awaited and much-needed collection of texts that altogether propose a profound reconsideration of agency and representation through camerer. – Blandine Joret, University of Amsterdam Ultimately, what comes most profoundly into focus through these text’s—and the meticulous scholarly framing that it is given throughout this manuscript—is the way Deligny developed an utterly original, sometimes estranging but always radically compassionate anthropology of the image, but one that unlike almost all other anthropogenic projects is organized around a fundamental questioning of the normative status of the “human” from the perspective of those humans who have been excluded from full inclusion in that category by virtue of their mental, cognitive, emotional, or psychiatric ‘deviance’ from an (ultimately imposed and artificial) norm. The consequences of such a radically reconfigured anthropology of the image for the aesthetics, poetics, and praxis of cinema is profound, and this book will enable us to finally begin to grapple with its implications.. – Leon Hilton, Brown University "

• Contents Epigraph [1996] Translator’s Note Introduction Cinema. Cine-Club [1934] The Camera, a Pedagogical Tool [1955] He’s Still One of Us [1971] Camering [1978] Miscreating [1979] Camering [1982] The Alga and the Fungus [1982] Fossils Have a Hard Life: Apropos of the Image [1982] Camering [1978–1983] The Distinctiveness of the IMAGEs [1988] What Is Not Seen (by the Self) [1990] Postface Index