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The Intensive-Image in Deleuze's Film-Philosophy
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Book Presentation:
Introduces the concept of the "intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic image
• The book develops the original concept of the intensive-image in order to open up a new and important understanding of the part played by intensity in the history of the cinematic image
• Escobar explore the significance of the notion of intensity in Deleuze’s philosophy and the ways it can be used to think about cinematic intensity as such
• The focus on the intensive-image inspires readers to reconsider Deleuze’s classification of cinema into two periods and two main types of images
• The general argument is that the intensive-image breaks up Deleuze’s divide between classical and modern periods as well as linking these two periods to contemporary cinema through its own unique properties
This book argues that the intensive-image constitutes an important cinematic category that prompts a rethinking of Deleuze’s taxonomy of images in his Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Escobar explores the proposition that the notion of intensity has the potential to change the way in which we think about Deleuze’s classification of films as signifying two separate periods, the classical period of the movement-image and the modern period of the time-image, thereby bringing them together and overcoming the separation that the philosopher creates. This book also explores the ways in which the intensive-image varies and differentiates itself from other images and the role it plays in contemporary cinema.
About the Author:
Cristóbal Escobar is a Lecturer in Screen Studies at the University of Melbourne, Film Programmer at FIDOCS and Co-Founder of the Screening Ideas program.
Press Reviews:
Gilles Deleuze’s monumental cinema books privileged properties of movement and time, differentiating the classical from the modern. Cristóbal Escobar respectfully re-opens Deleuze’s books in order to emphasize a term that cuts across and unifies all these categories: intensity. His contribution is brilliant and radical, leading us to experience films anew.– Adrian Martin, Film Critic, Monash University
Many "movement-image" films that have been thrust off the Deleuzian map contain diffuse flows and asynchronous intensities that expand like activated yeast. Escobar recognizes the creative power of these moments, identifying, with clear argument and acute analysis, a line of intensity that traverses all cinema.– Laura U. Marks, Simon Fraser University
See the publisher website: Edinburgh University Press
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