By C. Gardner
An expressive discussion among Deleuze's philosophical writings on cinema and Beckett's leading edge movie and tv paintings, the publication 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 house in the interstices of language as a (W)hole.
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Extra info for Beckett, Deleuze and the Televisual Event: Peephole Art
167). Thought, in other words, as a pure event that is forever lost in the aporias of time. 2 Beyond Percept and Affect: Beckett’s Film (1964) and Non-Human Becoming Film, Samuel Beckett’s 1964 experimental short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal, albeit transitional, text in the latter’s overall cinematic taxonomy. Deleuze uses it as a reverse proof of the three varieties of movement-image through their progressive extinguishing or exhaustion, moving in reverse order from the action-image, through the perception-image, to the affect-image.
This circuit of movementimage and spirit creates a shared power that shocks the viewing body into thinking. ‘It is as if cinema were telling us: with me, with the movement-image, you can’t escape the shock which arouses the thinker in you. A subjective and collective automaton for an automatic movement: the art of the “masses”’ (Deleuze, 1989, pp. 156–7). 20 Beckett, Deleuze and the Televisual Event It’s important to remember that these movement-images are pre-linguistic, semiotic signs. They can only be theorized as relations of visibility, as intersections of light and sound, not as freestanding pictures or representations (the product of linguistic organization).
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. Hamlet’s famous observation that, ‘Time is out of joint’ can be read simply as temporal discontinuity, but also in its more literal sense of a dehiscence, in that time has escaped out of the ‘between of the joint’, like blood escaping from the sutures of a wound, disclosing the immanent, ever-changing temporal Whole that is usually covered up by the smooth sequencing of montage itself.
Beckett, Deleuze and the Televisual Event: Peephole Art by C. Gardner