David Martin-Jones is Lecturer in Film Studies at the University of St Andrews, UK. He is the author of Deleuze, Cinema and National Identity (EUP, 2006), Scotland: Global Cinema (EUP, forthcoming) and Deleuze Reframed (I.B. Taurus, 2008).

• Introduction: Deterritorializing Deleuze; Spectacle I: Attraction-Image; 1. The Attraction-Image: From Georges Melies to the Spaghetti Western; Impossible Voyage (1904); Django (1966); Keoma (1976); History: Deleuze After Dictatorship; 2. The Child-seer in and as History: Argentine Melodrama; Kamchatka (2002); 3. Folding and Unfolding History: South Korean Time Travel Movies; Calla (1999); Ditto (2000); 2009: Lost Memories (2002); Space: Geopolitics and the Action-Image; 4. Not just any-space-whatever: Hong Kong and the global/local action-image; Police Story (1985); 5. Globalization's Action Crystals: Los Angeles in Michael Mann Blockbusters; Heat (1995); Collateral (2004); Spectacle II: Masala-Image; 6. The Masala-Image: Popular Indian (Bollywood) Cinema; Toofani Tarzan (1936); Awaara (1951); Dilwale Dulhania La Jayenge (1995); Conclusion: The Continuing Adventures of Deleuze and World Cinemas; Bibliography; Index.

This monograph is an ambitious, yet well executed project... Martin-Jones makes an important and precise contribution to Deleuzian scholarship, despite the broad and expansive nature of the topic at hand. As the global film industry has evolved and become more interconnected since the 1980s, we must refresh our ideas about the de/ reterritorialised flows of this global rhizome... Rather than letting Deleuzian scholarship remain confined in Eurocentric boundaries, Martin-Jones is allowing a morphogenetic response from the Cinema books criticism to a wider, global range of films... My final thought on this book is that it is lucid, well structured, simple and effective... Martin-Jones has written a thought-provoking and provocative monograph.

David Martin-Jones is Lecturer in Film Studies at the University of St Andrews, UK. He is the author of Deleuze, Cinema and National Identity (EUP, 2006), Scotland: Global Cinema (EUP, forthcoming) and Deleuze Reframed (I.B. Taurus, 2008).

• Introduction: Deterritorializing Deleuze; Spectacle I: Attraction-Image; 1. The Attraction-Image: From Georges Melies to the Spaghetti Western; Impossible Voyage (1904); Django (1966); Keoma (1976); History: Deleuze After Dictatorship; 2. The Child-seer in and as History: Argentine Melodrama; Kamchatka (2002); 3. Folding and Unfolding History: South Korean Time Travel Movies; Calla (1999); Ditto (2000); 2009: Lost Memories (2002); Space: Geopolitics and the Action-Image; 4. Not just any-space-whatever: Hong Kong and the global/local action-image; Police Story (1985); 5. Globalization's Action Crystals: Los Angeles in Michael Mann Blockbusters; Heat (1995); Collateral (2004); Spectacle II: Masala-Image; 6. The Masala-Image: Popular Indian (Bollywood) Cinema; Toofani Tarzan (1936); Awaara (1951); Dilwale Dulhania La Jayenge (1995); Conclusion: The Continuing Adventures of Deleuze and World Cinemas; Bibliography; Index.

This monograph is an ambitious, yet well executed project... Martin-Jones makes an important and precise contribution to Deleuzian scholarship, despite the broad and expansive nature of the topic at hand. As the global film industry has evolved and become more interconnected since the 1980s, we must refresh our ideas about the de/ reterritorialised flows of this global rhizome... Rather than letting Deleuzian scholarship remain confined in Eurocentric boundaries, Martin-Jones is allowing a morphogenetic response from the Cinema books criticism to a wider, global range of films... My final thought on this book is that it is lucid, well structured, simple and effective... Martin-Jones has written a thought-provoking and provocative monograph.

David Martin-Jones is Lecturer in Film Studies at the University of St Andrews, UK. He is the author of Deleuze, Cinema and National Identity (EUP, 2006), Scotland: Global Cinema (EUP, forthcoming) and Deleuze Reframed (I.B. Taurus, 2008).

• Introduction: Deterritorializing Deleuze; Spectacle I: Attraction-Image; 1. The Attraction-Image: From Georges Melies to the Spaghetti Western; Impossible Voyage (1904); Django (1966); Keoma (1976); History: Deleuze After Dictatorship; 2. The Child-seer in and as History: Argentine Melodrama; Kamchatka (2002); 3. Folding and Unfolding History: South Korean Time Travel Movies; Calla (1999); Ditto (2000); 2009: Lost Memories (2002); Space: Geopolitics and the Action-Image; 4. Not just any-space-whatever: Hong Kong and the global/local action-image; Police Story (1985); 5. Globalization's Action Crystals: Los Angeles in Michael Mann Blockbusters; Heat (1995); Collateral (2004); Spectacle II: Masala-Image; 6. The Masala-Image: Popular Indian (Bollywood) Cinema; Toofani Tarzan (1936); Awaara (1951); Dilwale Dulhania La Jayenge (1995); Conclusion: The Continuing Adventures of Deleuze and World Cinemas; Bibliography; Index.

This monograph is an ambitious, yet well executed project... Martin-Jones makes an important and precise contribution to Deleuzian scholarship, despite the broad and expansive nature of the topic at hand. As the global film industry has evolved and become more interconnected since the 1980s, we must refresh our ideas about the de/ reterritorialised flows of this global rhizome... Rather than letting Deleuzian scholarship remain confined in Eurocentric boundaries, Martin-Jones is allowing a morphogenetic response from the Cinema books criticism to a wider, global range of films... My final thought on this book is that it is lucid, well structured, simple and effective... Martin-Jones has written a thought-provoking and provocative monograph.