Deleuze and Film PDF
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DELEUZE CONNECTIONS Deleuze and Film Edited by David Martin-Jones and William Brown Deleuze and Film MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd ii 1177//0022//22001122 1166::5599 Deleuze Connections ‘It is not the elements or the sets which defi ne the multiplicity. What defi nes it is the AND, as something which has its place between the elements or between the sets. AND, AND, AND – stammering.’ Gilles Deleuze and Claire Parnet, Dialogues General Editor Ian Buchanan Editorial Advisory Board Keith Ansell-Pearson Gregg Lambert Rosi Braidotti Adrian Parr Claire Colebrook Paul Patton Tom Conley Patricia Pisters Titles Available in the Series Ian Buchanan and Claire Colebrook (eds), Deleuze and Feminist Theory Ian Buchanan and John Marks (eds), Deleuze and Literature Mark Bonta and John Protevi (eds), Deleuze and Geophilosophy Ian Buchanan and Marcel Swiboda (eds), Deleuze and Music Ian Buchanan and Gregg Lambert (eds), Deleuze and Space Martin Fuglsang and Bent Meier Sørensen (eds), Deleuze and the Social Ian Buchanan and Adrian Parr (eds), Deleuze and the Contemporary World Constantin V. Boundas (ed.), Deleuze and Philosophy Ian Buchanan and Nicholas Thoburn (eds), Deleuze and Politics Chrysanthi Nigianni and Merl Storr (eds), Deleuze and Queer Theory Jeffrey A. Bell and Claire Colebrook (eds), Deleuze and History Laura Cull (ed.), Deleuze and Performance Mark Poster and David Savat (eds), Deleuze and New Technology Simone Bignall and Paul Patton (eds), Deleuze and the Postcolonial Stephen Zepke and Simon O’Sullivan (eds), Deleuze and Contemporary Art Laura Guillaume and Joe Hughes (eds), Deleuze and the Body Daniel W. Smith and Nathan Jun (eds), Deleuze and Ethics Frida Beckman (ed.), Deleuze and Sex David Martin-Jones and William Brown (eds), Deleuze and Film Laurent de Sutter and Kyle McGee (eds), Deleuze and Law Forthcoming Titles in the Series Rebecca Coleman and Jessica Ringrose (eds), Deleuze and Research Methodologies Inna Semetsky and Diana Masny (eds), Deleuze and Education Visit the Deleuze Connections website at www.euppublishing.com/series/delco MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd iiii 1177//0022//22001122 1166::5599 Deleuze and Film Edited by David Martin-Jones and William Brown Edinburgh University Press MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd iiiiii 1177//0022//22001122 1166::5599 © editorial matter and organisation David Martin-Jones and William Brown, 2012 © in the individual contributions is retained by the authors Edinburgh University Press Ltd 22 George Square, Edinburgh www.euppublishing.com Typeset in 10.5/13 Adobe Sabon by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Antony Rowe, Chippenham and Eastbourne A CIP record for this book is available from the British Library ISBN 978 0 7486 4121 5 (hardback) ISBN 978 0 7486 4120 8 (paperback) ISBN 978 0 7486 4746 0 (webready PDF) ISBN 978 0 7486 5091 1 (epub) ISBN 978 0 7486 5090 3 (Amazon ebook) The right of the contributors to be identifi ed as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd iivv 1177//0022//22001122 1166::5599 Contents Acknowledgements vii Introduction: Deleuze’s World Tour of Cinema 1 William Brown and David Martin-Jones 1 An Imprint of Godzilla: Deleuze, the Action-Image and Universal History 18 David Deamer 2 Philosophy, Politics and Homage in Tears of the Black Tiger 37 Damian Sutton 3 Time-Images in Traces of Love: Repackaging South Korea’s Traumatic National History for Tourism 54 David Martin-Jones 4 The Rebirth of the World: Cinema According to Baz Luhrmann 71 Richard Rushton 5 ‘There are as many paths to the time-image as there are fi lms in the world’: Deleuze and The Lizard 88 William Brown 6 In Search of Lost Reality: Waltzing with Bashir 104 Markos Hadjioannou 7 The Schizoanalysis of European Surveillance Films 121 Serazer Pekerman 8 Fictions of the Imagination: Habit, Genre and the Powers of the False 137 Amy Herzog 9 Feminine Energies, or the Outside of Noir 155 Elena del Río MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd vv 1177//0022//22001122 1166::5599 vi Deleuze and Film 10 The Daemons of Unplumbed Space: Mixing the Planes in Hellboy 173 Anna Powell 11 Digitalising Deleuze: The Curious Case of the Digital Human Assemblage, or What Can a Digital Body Do? 192 David H. Fleming 12 The Surface of the Object: Quasi-Interfaces and Immanent Virtuality 210 Seung-hoon Jeong Notes on Contributors 227 Index 231 MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd vvii 1177//0022//22001122 1166::5599 Acknowledgements We would very much like to thank our friends and contributors for their hard work, patience and collegiality with the development of this project. Thanks also to Ian Buchanan for encouraging us to take up the project with Edinburgh University Press. Chapter 3 is a developed version of an article that previously appeared in the journal Asian Cinema: David Martin-Jones, ‘Traces of Time in Traces of Love (2006): South Korean National History and the Time- image’, Asian Cinema, 18 (2) (2007): pp. 252–70. It is reprinted here in a modifi ed form with the kind permission of Professor John A. Lent, editor of Asian Cinema and Chair of the Asian Cinema Studies Society. Our thanks to John A. Lent and ACSS for kindly granting permission for this piece to be reprinted in developed form. MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd vviiii 1177//0022//22001122 1166::5599 MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd vviiiiii 1177//0022//22001122 1166::5599 Introduction: Deleuze’s World Tour of Cinema William Brown and David Martin-Jones In Deleuze and Film, Gilles Deleuze’s ideas, particularly though not uniquely those outlined in his Cinema books, are taken on a world tour during which they encounter cinemas from around the globe. To paraphrase the title of William Brown’s contribution, the purpose of this tour is to demonstrate that there are as many roads into Deleuze’s fi lm-philosophy as there are fi lms in the world. This collection, then, creates Deleuze and Guattarian assemblages through encounters with fi lms from various countries, and spanning a range of genres. They include: a Japanese monster movie; a Thai western; a South Korean disaster-cum-road movie; Baz Luhrmann’s Australian and American auteur pictures; a popular Iranian comedy; an Israeli animated docu- mentary; transnational European art fi lms; European and American melodramas; American fi lm noir; and two chapters on digitised pro- ductions from contemporary Hollywood. The notion of a world tour, albeit a whistle-stop one, is not intended to suggest a tourist’s interac- tion with different cinemas (the complexities of such encounters being something we discuss below), nor that this collection is intended as a totalising cinematic map of the world. Rather, the tour carries the reader to a (modest) range of different portals, doorways, or pathways into Deleuze’s fi lm-philosophy. The globally inclusive approach of Deleuze and Film continues the process of opening up new frontiers in the interdisciplinary research area of Deleuze Studies, which is a feature of the Deleuze Connections series. Thus the focus of this particular collection on cinema adds a visual dimension to existing work in the series on such related topics as music, space, literature, politics, history and the contemporary world. The new transnational, fi lm-philosophical assemblages constructed herein indicate the current state of an ongoing interrogation of the fi nd- ings of Deleuze’s exciting, stimulating, brilliant, but at times Eurocentric MMAARRTTIINN--JJOONNEESS 99778800774488664411221155 PPRRIINNTT..iinndddd 11 1177//0022//22001122 1166::5599
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