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Ashton Dyrk

Ashton Dyrk

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Published by Nilson Alvarenga

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Published by: Nilson Alvarenga on Jun 25, 2012
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11/06/2013

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 USING DELEUZE: THE CINEMA BOOKS, FILM STUDIES AND EFFECTDyrk AshtonA DissertationSubmitted to the Graduate College of Bowling GreenState University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHYAugust 2006Committee:Cynthia Baron, Chair Patrick Pauken, Graduate Faculty RepresentativeDonald CallenJonathan ChambersRonald Shields
 
©2006Dyrk AshtonAll Rights Reserved
 
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ABSTRACTCynthia Baron, Advisor Since their publication, Deleuze’s Cinema 1: The Movement-Image (French1983, English 1986) and Cinema 2: The Time-Image (French 1985, English 1989) haveheld a precarious position in Anglophone film studies. The difficulties of the cinema books are pointed out by many, a broad range of complaints have been leveled againstthem, and their usefulness has been widely questioned.There has, however, been an increase in interest in the cinema books amongAnglophone film scholars over the last few years. Still, many of the “complaints” and“concerns” about the cinema books remain. A guiding principal of this dissertation is to provide a “way in” to Deleuze’s work in the cinema books, or a key to assist in unlockingand unpacking Deleuze’s cinema project.To this end, I have analyzed Deleuze’s approach in the cinema books, their style,methodology, rationale and theoretical framework, utilizing Theodor Adorno’s conceptof “parataxis” because I believe it illuminates his metaphysics. I have also explicated keyelements of Deleuze’s Bergson-inspired metaphysics, concentrating on what I feel arefundamental aspects that aid in a clarification of “movement-images” and “time-images.”A key concept that I utilized in this endeavor is Deleuze’s “crystal-image” because Imaintain that the characteristics of crystal-images are the very foundation of all time-images. I endeavored to “fill in the gaps” in Deleuze’s cinema books by makingconnections between concepts that may not be apparent, addressing elisions in the cinema books as well as the current body of scholarly work on them. I utilized examples fromcontemporary films to illustrate Deleuze’s concepts, particularly Peter Jackson’s The

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