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Post-Deleuzian Investigations of U.S. Avant-Garde Film, 1943–81

Mendelyte, Atene LU (2017)
Abstract
The aim of this dissertation is to investigate a number of U.S. avant-garde films using Deleuzian film-philosophy in order to describe their thought. I develop the taxonomy of cinematic images created by the French philosopher Gilles Deleuze by introducing a new type of image. The notion of the sobjective image I conceptualize points to the immanent semiosis that characterizes certain films. The sobjective image describes the individual images and the entire films that objectify subjectivity and create idiosyncratic mental film-worlds. These films shape individual realities according to a single subjective mode. I also introduce the conceptual cartography of film-worlds, an analytical tool intended to help define the... (More)
The aim of this dissertation is to investigate a number of U.S. avant-garde films using Deleuzian film-philosophy in order to describe their thought. I develop the taxonomy of cinematic images created by the French philosopher Gilles Deleuze by introducing a new type of image. The notion of the sobjective image I conceptualize points to the immanent semiosis that characterizes certain films. The sobjective image describes the individual images and the entire films that objectify subjectivity and create idiosyncratic mental film-worlds. These films shape individual realities according to a single subjective mode. I also introduce the conceptual cartography of film-worlds, an analytical tool intended to help define the ontology of various filmic wholes (film-worlds) in order to highlight their distinctness. The cartography aids in explaining how films dominated by different Deleuzian and post-Deleuzian image types differ in their film-worlds, ontology, and metaphysics. Furthermore, I coin the concept of the metaphysics of technique and subsequently argue that various cinematic techniques (montage, mise-en-scène, framing, costuming, lighting, superimposing, sound editing, etc.) do not only serve to create the physics of a given film-world (the extended phenomena), but define the metaphysics (the nature) of that reality. I then proceed to close-read fourteen avant-garde films by describing their sobjective principles and by bringing out their bearings on a number of important philosophical problems. These films cluster around four philosophical themes, which are shaped into four chapters focusing on childhood, selfhood, sexuality, and ritual and art. (Less)
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author
supervisor
opponent
  • professor Stavning Thomsen, Bodil Marie, Aarhus Universitet
organization
publishing date
type
Thesis
publication status
published
subject
keywords
U.S. avant-garde film, Gilles Deleuze, film-philosophy, sobjective image, metaphysics of technique, conceptual cartography of film-worlds, transcendental empiricism , film semiotics, postmodernism
pages
254 pages
defense location
B152, LUX, Helgonavägen 3, Lund
defense date
2017-12-16 10:15
language
English
LU publication?
yes
id
ce95aedf-4d84-4536-8e9f-aab9562cfaee
date added to LUP
2017-11-05 13:44:15
date last changed
2017-11-17 15:41:26
@phdthesis{ce95aedf-4d84-4536-8e9f-aab9562cfaee,
  abstract     = {The aim of this dissertation is to investigate a number of U.S. avant-garde films using Deleuzian film-philosophy in order to describe their thought. I develop the taxonomy of cinematic images created by the French philosopher Gilles Deleuze by introducing a new type of image. The notion of<em> the sobjective image</em> I conceptualize points to the immanent semiosis that characterizes certain films. The sobjective image describes the individual images and the entire films that objectify subjectivity and create idiosyncratic mental film-worlds. These films shape individual realities according to a single subjective mode. I also introduce <em>the conceptual cartography of film-worlds</em>, an analytical tool intended to help define the ontology of various filmic wholes (film-worlds) in order to highlight their distinctness. The cartography aids in explaining how films dominated by different Deleuzian and post-Deleuzian image types differ in their film-worlds, ontology, and metaphysics. Furthermore, I coin the concept of<em> the metaphysics of technique</em> and subsequently argue that various cinematic techniques (montage, mise-en-scène, framing, costuming, lighting, superimposing, sound editing, etc.) do not only serve to create the physics of a given film-world (the extended phenomena), but define the metaphysics (the nature) of that reality. I then proceed to close-read fourteen avant-garde films by describing their sobjective principles and by bringing out their bearings on a number of important philosophical problems. These films cluster around four philosophical themes, which are shaped into four chapters focusing on childhood, selfhood, sexuality, and ritual and art.},
  author       = {Mendelyte, Atene},
  keyword      = {U.S. avant-garde film,Gilles Deleuze,film-philosophy,sobjective image,metaphysics of technique,conceptual cartography of film-worlds,transcendental empiricism ,film semiotics,postmodernism},
  language     = {eng},
  month        = {11},
  pages        = {254},
  school       = {Lund University},
  title        = {Post-Deleuzian Investigations of U.S. Avant-Garde Film, 1943–81},
  year         = {2017},
}