Cinecepts, Deleuze, and Godard-Miéville

Developing Philosophy through Audiovisual Media

Häftad, Engelska, 2025

Av Jakob A Nilsson, Orebro University) Nilsson, Jakob A (Assistant Professor of Film Studies, Jakob A. Nilsson

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As the spread of knowledge and even theory becomes an increasingly audiovisual affair, how can philosophy adapt in ways that develop rather than dilute philosophical rigor and specificity? How can philosophy harness the potential of audiovisual media being more formally multidimensional than text-only to conceptualize with greater precision and depth? This book presents a theory of formal development of philosophy in this regard: a theory of cinecepts. While spanning film, media, art, and critical theories as well as philosophy, this study proceeds mainly through a close reimagination of the work of Gilles Deleuze, which allows for a merging of what he kept separated: filmic thinking and philosophical conceptualization. Jean-Luc Godard & Anne-Marie Mieville's underexplored 1970s Sonimage works are also the subject of extensive examination, along with critical considerations of a contemporary era of academic video essays and phenomena like philosophy channels on YouTube.

Produktinformation

Utgivningsdatum2025-08-29
Mått156 x 234 x 13 mm
Vikt340 g
FormatHäftad
SpråkEngelska
Antal sidor240
FörlagEdinburgh University Press
ISBN9781399500203

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Film inom Kultur

Acknowledgements PrefaceIntroduction Chapter 1. Towards a Theory of Cinecepts: A Reorganization of Deleuze’s CategoriesChapter 2. Setting the Stage: 2 or 3 Things, Le Gai Savoir, and Ici et AilleursChapter 3. The Problem of the New: Ideas, Cinema, ConceptsChapter 4. Sonimage: A Problem Space and Six Embryonic CineceptsChapter 5. Rapprochement, Concepts, and Cineceptual FormChapter 6. Scholarly Video Essays: A Critical Examination and A Cineceptual AlternativeChapter 7. Notes on Cinecepts as Multimedia PracticeAbbreviations of Works by Gilles DeleuzeReferences

Nilsson proposes both a new interpretation of the relationship between theory and practice in the work of Jean-Luc Godard and a new reading of Gilles Deleuze and the application of his thought to cinema. Nilsson delineates a rich new avenue for research in film-philosophy. No other book has examined in such detail or with such conviction Godard’s famous claim that cinema is ‘a form that thinks.’