The transformation in our conception of art, time and identity has, according to Lyotard, represented a postmodern break from unity and identity; an opposition to totality. We now reject totalising theories, and seek localised theories that explain the difference of life. Grand theories uniting all disciplines are then impossible. Whereas modernism was concerned with what we could determine, Bergson and Deleuze are concerned with the indeterminacy, the contingency, of Life. To what extent do we trust our preconceived notions of the world? How might this obscure the true nature of time and space, and therefore life? If life does not run along a single line of time, but consists of durations that differ for every being, then how should we try to live life? How can the cinematic affect open our eyes to the true \u2018multiplicity\u2019 of the world? Gilles Deleuze questions the grand narratives and conventions of life more radically than many, calling perhaps for a \u2018rethinking of philosophy\u2019 in light of the most important artistic development of the century; the cinema. In Chapter 1, I wish to look at the main artistic movements in Cinema, from German expressionism and Soviet montage of the 20\u2019s through to the New Wave in cinema following 1968. I will then explore the capabilities of the cinema to produce new and diverse styles of thought through the movement image that allow us to see time directly, not as we experience it through the \u2018human eye\u2019 that is interested and organises. In chapter 2, I wish to look at the writings of Bergson and his philosophy of dynamism and change based on the continuous experience of nature that is falsified with the imposed divisions we divide life with as a means of understanding some underlying reality. The image is instead a simulacra with no foundation in reality. Deleuze believes that, rather than reality being actuality, or based on an ideal model, it is a constant interaction between these two; the actual and the virtual, and this is how difference is created. The impossibility of founding knowledge on structures allows us \u2018the opportunity to invent, create and experiment\u2019 with life and its possibilities.<\/p>\n","protected":false},"excerpt":{"rendered":"
Robert Graham, 2005, Stage 3<\/p>\n","protected":false},"author":8792,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[429,22,123],"tags":[62,81,157],"class_list":["post-1606","post","type-post","status-publish","format-standard","hentry","category-429","category-abstracts","category-stage-3-abstracts","tag-cinema","tag-deleuze","tag-postmodernism"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/1606","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/users\/8792"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/comments?post=1606"}],"version-history":[{"count":0,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/1606\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/media?parent=1606"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/categories?post=1606"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/tags?post=1606"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}