Download Beckett, Deleuze and the Televisual Event: Peephole Art by C. Gardner PDF

By C. Gardner

An expressive discussion among Deleuze's philosophical writings on cinema and Beckett's leading edge movie and tv paintings, the e-book explores the connection among the start of the development – itself a simultaneous invention and erasure - and Beckett's makes an attempt to create an incommensurable area in the interstices of language as a (W)hole.

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Extra info for Beckett, Deleuze and the Televisual Event: Peephole Art

Sample text

We become more aware of the cut and splice between scenes than the scenes themselves. The latter become autonomous and self-contained, forcing us to read continuity as a disjuncture – as in the split between subjective and objective points-of-view in Beckett’s Film – or as a simple case of addition, as in the alternating shifts between the Black Panthers and The Rolling Stones – a rehearsal of the revolution PLUS the rehearsal of ‘Sympathy for the Devil’ – in Godard’s One Plus One (1968). In fact, in extreme cases – Alain Resnais’s Last Year at Marienbad, Beckett’s Not I, Chris Marker’s La Jetée – the sheer discontinuity produced by motor breakdown opens up the gap of the interstice as itself the immanent content of the film as (a) Whole.

120). Ruth Perlmutter offers a more affirmative reading, rightly pointing out that, ‘The film needs to be “read” along with the filmscript, where some details are explained by Beckett. The film is an allegorical visual representation of its palimpsest, the filmscript. Indeed, the script is essential for clarification’ (Perlmutter, 1977, p. 83 n. 3). Thus, only from studying early manuscripts do we discover that the film was originally titled The Eye, suggesting a scopophobic register from the work’s inception.

However, when we perceive the thing we relate the very same image to another image which serves to frame but also mediate it. This framing is necessarily always partial, subtracting that which doesn’t serve the intentionality of our immediate needs (Deleuze, 1986, p. 63). In this respect, as we noted above, the material moment of subjectivity is always subtractive. 24 Beckett, Deleuze and the Televisual Event Cinema – itself composed of special types of image – consequently moves back and forth from total objective perception to a unicentred, subjective perception, via subtraction, and back again.

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