Akihisa Iwaki; Nobuhiro Masuda; Yosaku Matsutani
Bulletin of the School of Literature, Arts and Cultural Studies, Kindai University 近畿大学文芸学部 31 (1) 47 - 84 1344-5146 2019/08
[Refereed] Introduction: “Creative Evolution in Deleuze’s Cinema?” by Akihisa Iwaki
Chapter 1: “Chronophotography and Plasmatic Cinema” by Nobuhiro Masuda
Chapter 2: “Deleuze’s Cinema and Lumière Films” by Yosaku Matsutani
Chapter 3: “Flickering Worlds” by Akihisa Iwaki
Since their first publication, in France, the impact of Gilles Deleuze’s Cinema1( 1983) and Cinema 2( 1985) has gradually spread to various research areas. In addition, there might be several links from Cinema to aesthetics and visual culture studies in a wider sense.
Furthermore, it would be interesting to examine the experience of
movement and time in new media environments (e.g., that of computer technologies or that of new media art); new arrangements of perception, affection, and action occurring through technologies (e.g., neurotechnology and neuroart); completely different and renewed sensorimotor schema in the space of micro-gravity (e.g., space engineering and space art); life as time machine (e. g. biotechnology and bioart), and so on, with reference to Deleuze’s perspectives in Cinema.
The panel focused mainly upon the impact of moving images from the end of the nineteenth to the early twentieth centuries, which Deleuze discussed briefly in Cinema 1. We employed the term “pre-cinema” to refer to moving images before “movement-image”( pure movement extracted from the movement of objects) was actualized through the use of camera mobility and montage―Deleuze summarizes this point by reference to the Bergsonian philosophy of evolution.
Examining the point of divergence of “movement-image( image-mouvement)” and “image in movement( image en mouvement)”( movement of objects) or that of “any-instant-whatever( instant quelconque)”( represented by modern science)and “privileged instant (instant privilégié)” (represented by ancient science) in
visual culture, can we trace other divergent lines in the evolution of moving images? Given such questions, we focused on the seeds and the milieux of movement-image and time-image, and presented some ideas.