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17 Oct 2012
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£53.00
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9781137014351
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DescriptionContentsAuthors

An expressive dialogue between Gilles Deleuze's philosophical writings on cinema and Samuel Beckett's innovative film and television work, the book explores the relationship between the birth of the event – itself a simultaneous invention and erasure - and Beckett's attempts to create an unrepresentable space within the interstices of language as a (W)hole. While focusing specifically on Film (1964), the television adaptations of dramatic works such as Play, Not I and What Where, as well as the made-for-TV productions of Eh Joe, …but the clouds…, Ghost Trio, Quad I & II and Nacht und Träume, this book is more than an exploration of Beckett's TV work through a specific Deleuzean filter. More importantly, it is also an opportunity to re-examine Deleuze's Cinema 1 and 2 – specifically the affect- and time-images – through Beckett's specific audio-visual 'peephole.' Given Beckett's obvious compatibility with Kafka and minor literature, this study contextualizes his television work in relation to Deleuze's writings on cinema as a whole, and by extension, the ontology and semiotics of film and televisual language.


Description

An expressive dialogue between Gilles Deleuze's philosophical writings on cinema and Samuel Beckett's innovative film and television work, the book explores the relationship between the birth of the event – itself a simultaneous invention and erasure - and Beckett's attempts to create an unrepresentable space within the interstices of language as a (W)hole. While focusing specifically on Film (1964), the television adaptations of dramatic works such as Play, Not I and What Where, as well as the made-for-TV productions of Eh Joe, …but the clouds…, Ghost Trio, Quad I & II and Nacht und Träume, this book is more than an exploration of Beckett's TV work through a specific Deleuzean filter. More importantly, it is also an opportunity to re-examine Deleuze's Cinema 1 and 2 – specifically the affect- and time-images – through Beckett's specific audio-visual 'peephole.' Given Beckett's obvious compatibility with Kafka and minor literature, this study contextualizes his television work in relation to Deleuze's writings on cinema as a whole, and by extension, the ontology and semiotics of film and televisual language.


Contents

Acknowledgements
List of Plates
List of Figures
Introduction: Intuition/Image/Event: 'Beckett's Peephole' as Audio-Visual Rhizome
Thinking the Unthinkable: Time, Cinema and the Incommensurable
Beyond Percept and Affect: Beckett's Film (1964) and Non-Human Becoming
From 'Dialoghorrhea' to Mental-Image: Comédie (1966), Not I (1977) & What Where (1986)
Matter and Memory: The Image as Impersonal Process in Eh Joe (1966), Ghost Trio (1977), and …but the clouds' (1977)
How to Build a Desiring Machine: Quadrat I + II (1981)
Video-body, Video-brain: Nacht und Träume (1983) as Tele-Visual Event
Conclusion: The Incommensurable Unnameable: Beckett, Deleuze and the Birth of the Event
Bibliography
Notes
Index


Authors

COLIN GARDNER is Professor of Critical Theory and Integrative Studies at University of California, Santa Barbara, USA, where he teaches in the departments of Art, Film & Media Studies, Comparative Literature and the History of Art & Architecture. He is the author of critical studies on Joseph Losey and Karel Reisz.