A Deleuzian Analysis of Tarkovsky’s Theory of Time-Pressure, Part 1
This essay offers a Deleuzian analysis of the great Russian filmmaker Andrei Tarkovsky's montage theory of time-pressure, foregrounded against the historical backdrop of Eisenstein's montage of attractions.
A Deleuzian Analysis of Tarkovsky’s Theory of Time-Pressure, Part 2
Part two of Menard's unique 'cine-physics'.
Thinking About Cinema With Cinema
Totaro explores how certain styles of filmmaking (montage vs. long take style) may be used to activate different cognitive states ('intellect' versus 'emotion').
Deleuzian Film Analysis: The Skin of the Film
Can cinema reproduce the full sensorial spectrum, and if so, what would this cinema look like?
Fractal Images of Memory in Mother and Son, Part 1
Gilles Deleuze Meets the Mandelbrot set in this theoretical exploration of the memory images in Sokoruv's modern day Kammerspiel classic Mother and Son.
Gilles Deleuze’s Bergsonian Film Project : Part 1
In his second book Deleuze tackles temporality in a more direct fashion. Although the book is considerably longer than the first (344 to 250 pages), Deleuze does not propose rigid or neat classifications. The central shift remains from a cinema that defined itself primarily through motion to one that concerned itself more directly with time. The time-image moved beyond motion by freeing itself of the sensory-motor link to a pure optical and sound (tactile) image.
Gilles Deleuze’s Bergsonian Film Project : Part 2
In his second book Deleuze tackles temporality in a more direct fashion. Although the book is considerably longer than the first (344 to 250 pages), Deleuze does not propose rigid or neat classifications. The central shift remains from a cinema that defined itself primarily through motion to one that concerned itself more directly with time. The time-image moved beyond motion by freeing itself of the sensory-motor link to a pure optical and sound (tactile) image.
