By Barbara Kennedy
Film concept has for thus lengthy fascinated by sociological, empirical, and psychoanalytic ways that aesthetic sensibilities appear to have been forgotten. This e-book places the emphasis again on movie as an artwork shape. via discussions of Orlando, The English sufferer, Romeo and Juliet, unusual Days, and Leon, the ebook deals a brand new and inventive collusion among Deleuzian philosophy -- particularly Deleuze's principles approximately wish, excitement, sensation, impact, and "becoming-woman" -- and modern movie studies.
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Additional resources for Deleuze and Cinema: The Aesthetics of Sensation
A post-feminist agenda, as an ethical framework, engages with thinking outside the boundaries of epistemological, Cartesian, modernist thinking. It enables a reconceptualisation of the thinking process itself. A post-feminist agenda requires a rethinking of the very foundations of thought itself. Thought needs to be emancipated, freed from the labyr- 22 Deleuze and Cinema: The Aesthetics of Sensation inths of rational and epistemological determinations, so that terms such as `subjectivity', `identity' and the `body' and, for my purposes here, their relation to filmic aesthetics may become creative and experimental.
See for example the work of Irigaray, Kristeva and Cixous, each of whom have different perspectives, but who are prioritising feminisms which articulate multiple and fluid subjectivities. Their work is, however, mostly premised on a rearticulation of psychoanalysis, specifically Lacanian. Thus their feminisms, and I acknowledge there are differences across these three, are still premised on psychoanalytic constructions of subjectivities. For a brief overview see Toril Moi, Sexual/Textual Politics.
Here the aesthetic experience involves a whole and total engagement with molecular forces of being in the world. A complete depersonalisation is involved, where subjectivity is rendered subjectless. Barbara McClintock explains how this `depersonalisation' feels in describing her scientific work, `The more I worked with chromosomes the bigger and bigger they got, and when I was really working with them I wasn't outside, I was down there. I was part of the system . . As you look 32 Deleuze and Cinema: The Aesthetics of Sensation at these things, they become part of you.