Gilles Delueze creates in his books on cinema a taxonomy, an attempt at the classification of cinematic images and signs. This classification is an insightful elaboration on Bergson's theses on movement and on Pierce's signs system. If this taxonomy is the core of the "movement-image" book, its heart is a brilliant and systematic history of aesthetic forms of the classical cinema.
Some of the more interesting ideas are the two poles of the close-up, Goethe's theory of color and German expressionism, the space in Bresson, an account of Bunuel as naturalist, the difference between John Ford and Howard Hawks, the crisis of the action-image and the essence of comedy as in Lubitsch, Chaplin and Keaton. Nevertheless, it is not a book about cinema, nor is it a book of film history. It is the practice of concepts. Deleuze writes: "Philosophical theory is itself a practice, just as much as its object. It is no more abstract than its object...So that there is always a time, midday-midnight, when we must no longer ask ourselves 'What is cinema?' but 'What is philosophy?'". Only Deleuze, one of the greatest minds of our Century, could answer this question with so much elegance, profundity, ingenuity and mystical charm.
University of Minnesota Press
253 pagina's, Paperback