By C. Gardner
An expressive discussion among Deleuze's philosophical writings on cinema and Beckett's cutting edge movie and tv paintings, the e-book explores the connection among the beginning of the development – itself a simultaneous invention and erasure - and Beckett's makes an attempt to create an incommensurable area in the interstices of language as a (W)hole.
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Extra resources for Beckett, Deleuze and the Televisual Event: Peephole Art
Instead, ‘it presupposes an impulse, a compulsion to think which passes through all sorts of bifurcations, spreading from the nerves and being communicated to the soul in order to arrive at thought’ (Deleuze, 1994, p. 147). For Artaud then, thought is forced to think its own fracture and powerlessness as well as its own inability to be represented. Thus thinking is never innate but must be engendered in and through thought, a mechanism which brings into being that which doesn’t yet exist. Thinking is creation, which engenders thinking in thought: ‘The question for me is nothing less than knowing whether or not I have the right to continue to think, in verse or in prose’ (Artaud, 1976, p.
Indeed, it is this very combination of the three varieties of image that we call montage: ‘Montage (in one of its aspects) is the assemblage of movement-images, hence the inter-assemblage of perception-images, affection-images and action-images’ (Deleuze, 1986, p. 70). Thus the three types of movement-image are associated with a camera shot: perception-image (long shot); affect-image (close-up); action-image (medium shot), while ‘A montage develops from a particular attitude toward the material image, an attempt to arrive at different kinds of Wholes from the same given capacity of capturing instants’ (Dienst, 1994, p.
Another example: the coffins of national heroes are lowered into the grave (shot in Astrakhan in 1918); the grave is filled in (Kronstadt, 1921); cannon salute (Petrograd, 1920); memorial service, hats are removed (Moscow, 1922) – such things go together, even with thankless footage not specifically shot for this purpose. (Vertov, 1984, pp. 16–17) Vertov’s montage actually brings us closer to the time-image – an expression of direct, non-chronological time. For Deleuze, Vertov’s montage penetrates perception directly into things – that is, into matter – so that any given point in space is linked to all the other points on which it acts (and vice versa), all the way to infinity: ‘It is the eye of matter, the eye in matter, not subject to time, which has “conquered” time, which reaches the “negative of time”, and which knows no other whole than the material universe and its extension’ (Deleuze, 1986, p.
Beckett, Deleuze and the Televisual Event: Peephole Art by C. Gardner