Gilles Deleuze′s Time Machine

Gilles Deleuze′s Time Machine

Post-Contemporary Interventions

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Book Pages: 280 Illustrations: 41 b&w photographs, 5 figures Published: July 1997

Author: David Rodowick

Cultural Studies, Media Studies, Theory and Philosophy > Psychoanalytic Theory

Although Gilles Deleuze is one of France’s most celebrated twentieth-century philosophers, his theories of cinema have largely been ignored by American scholars. Film theorist D. N. Rodowick fills this gap by presenting the first comprehensive study, in any language, of Deleuze’s work on film and images. Placing Deleuze’s two books on cinema—The Movement-Image and The Time-Image—in the context of French cultural theory of the 1960s and 1970s, Rodowick examines the logic of Deleuze’s theories and the relationship of these theories to his influential philosophy of difference.
Rodowick illuminates the connections between Deleuze’s writings on visual and scientific texts and describes the formal logic of his theory of images and signs. Revealing how Deleuzian views on film speak to the broader network of philosophical problems addressed in Deleuze’s other books—including his influential work with Félix Guattari—Rodowick shows not only how Deleuze modifies the dominant traditions of film theory, but also how the study of cinema is central to the project of modern philosophy.


Gilles Deleuze’s Time Machine is a significant contribution to those who wish to study Deleuze’s cinema volumes. As an informative and creative engagement of Deleuze’s work, it provides a fertile ground that is capable of generating more work with these texts.” — Darlene Pursley , SubStance

“[Readers of] Gilles Deleuze’s Time Machine will discover possibilities for new ways of seeing and saying, of thinking through the ‘having been and yet to come’ of thought, image, and cinema itself.” — Garnet Creighton Butchart, Film-Philosophy

“[Rodowick] present[s] a powerfully argued thesis for a Deleuzian politics of audiovisual culture. . . . The fact that Rodowick does not have to reduce Deleuze to a handful of his sexier concepts in order to engage with his thought, but has instead found a way of intensifying them, namely by compressing them until their hinges show, makes Gilles Deleuze’s Time Machine a model and precedent. . . . [This] is a superb example of a fecund encounter with Deleuze. It is neither slavish and idolizing in its approach to Deleuze’s thought, not fast and loose. It is able then to achieve that delicate and remarkable balance of being accurate in its account of Deleuze’s concepts, but still creative in its use of them.” — Social Semiotics

“D. N. Rodowick . . . has aimed for a tightly organized and intensively explicated study of Deleuze’s cinema theory. He has managed admirably to balance a fidelity to Deleuze’s ideas with a clarity of presentation that is at times astonishing, given the notable untidiness of Deleuze’s argumentation in the Cinema volumes. . . . Rodowick has done Deleuze’s readers a genuine service in sharpening the image of thought which Deleuze sought to draw from the cinema and thus intensifying its potential impact on future discussions of the medium.” — , Textual Practice

“This is the first book of its kind on Deleuze’s studies of film, and readers with a philosophical bent should find it greatly stimulating. . . .” — , Christian Science Monitor

“With Gilles Deleuze’s Time Machine, David Rodowick has provided the anglo film scholar with a fascinating creative text which constitutes a significant opening, one possible means of breaking up whatever ‘inertia’ there may be. It will remain an important avenue to the enormous potential of Deleuzian thought for film scholarship.” — Robert Craig , Canadian Journal of Film Studies

“Anglo-American critics have not yet begun to plumb the riches of Deleuze’s investigation into cinema, and David Rodowick, well versed in philosophy and cinema studies, is the perfect person to bring these important works into focus for the American critical establishment. This book will become a standard work for anyone who wants to learn about Deleuze on cinema and about Deleuze more generally.” — Dana Polan, University of Pittsburgh

“Deleuze is now coming to be seen in the anglophone world for what the French have long known him to be—someone who is perhaps the most productive and important philosophical thinker of this century. And Rodowick has a flair for making genuinely illuminating connections between Deleuze’s cinema books and his other works.” — Kenneth Surin, Duke University


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