“The Movement-Image” and “The Time-Image” by Gilles Deleuze: contemporary uses of film thinking
« L’Image-mouvement » et « L’Image-temps » de Gilles Deleuze : usages contemporains d’une pensée du cinéma
Published on Thursday, January 23, 2025
Abstract
Autumn 2025 marks the fortieth anniversary of the publication of the second volume of Gilles Deleuze’s diptych on cinema, The Time-Image. As the centenary of his birth draws to a close, this will be an opportunity to celebrate the philosopher and his importance for thinking about the seventh art, by collectively exploring the current uses of The Movement-Image and The Time-Image in film studies.
Announcement
International Symposium
5, 6 and 7 of November, 2025
University of Paris 8 Vincennes – Saint-Denis
Argument
Autumn 2025 marks the fortieth anniversary of the publication of the second volume of Gilles Deleuze’s diptych on cinema, The Time-Image. As the centenary of his birth draws to a close, this will be an opportunity to celebrate the philosopher and his importance for thinking about the seventh art, by collectively exploring the current uses of The Movement-Image and The Time-Image in film studies. Proposals are invited for papers on the revival or variation of elements of Deleuzian thinking on cinema: the various visual and sound signs of the classification proposed by the philosopher, the different regimes of images, the concepts raised by filmic forms themselves (“voyants”, “various spaces”, “clichés”, “powers of the false”...), the ethics called for by Deleuze in the passage from one part of his essay to the other, the politics of images asserted in The Time-Image, etc.
In this sense, the aim is not so much to explore the genesis of this essay, which has been translated worldwide and on which important commentaries already exist, as to study its uses in relation to the variety of themes that constitute its topicality for us who read it today: the writing of history through films, the tormented relationship between cinema and activist commitment, the thwarted relations between filmic forms and other regimes of moving images (television, video games, social networks...), but also the evolving links between editing and narration, the conditions of film production in an increasingly financially constrained environment, the evolution of the gestures of actresses and actors in the age of new images. This colloquium aims to explore these research perspectives, which relate to both the theory and practice of cinema, in the light of a state of film production that Deleuze’s thought enables us to map in a way that is both distanced (from a critical point of view) and immanent (by immersing ourselves in the material of films).
We therefore invite future contributors not to consider their re-employments, reworkings or extensions of Deleuzian theory as closed in on it, enclosed in the sole commentary on the Deleuzian diptych. Rather, we need to project them towards our own fields of filmic investigation, possibly foreign to the philosopher, while striving to connect them to a contemporary outside world, our own, which gives us a glimpse of the present-day uses of a cinema thought in the making. Such uses cannot be confined to conceptual exegesis alone, and may also involve cinematographic and audiovisual creations in dialogue with Deleuzian thought on images.
The technological transformations that the moving image has undergone over the past forty years call for a renewal, even a remodeling, of the concepts of Cinema 1 and Cinema 2 to make them operative in today’s configurations of profusion of new types of images and media. The “art of control” evoked by Deleuze in his 1986 “Letter to Serge Daney” – which presupposes a dual relationship of immersion and deconstruction of image flows – is more topical than ever. And we mustn’t forget that the “spectatorial” condition described by Deleuze in his Bergson-inspired “metacinema”, in which we are each and every one an image among an infinite number of others passing through us in every direction, can help us to grasp the coordinates of our current media environments. We are exponentially besieged by images, often generated by social, political or industrial forces that are profoundly subjugating, and whose generation can now do without human action, thanks to the development of artificial intelligence.
In the “chains of images” we voluntarily or involuntarily form – to borrow a phrase from Anne-Marie Miéville and Jean-Luc Godard’s film Here and Elsewhere (Ici et ailleurs), so important to Deleuze – there are increasingly insidious “watchwords” influencing our ways of seeing and thinking, acting and speaking, impoverishing them to the extreme. How can we get away from the “clichés” that are imposed on us, telling us to put up with even the most “intolerable” things? How can we escape the “sensory-motor schemas” that obscure injustice, violence and death, all of which should upset us, or at least shake us out of our indifference? This will be one of the major challenges of a media condition that we must face up to, based on Deleuze’s thinking on cinema, and through the filmic territories of each and every one of us.
Submission guidelines
Proposals for contributions in the form of abstracts (4000 characters maximum) written in French or in English should be submitted to colloquedeleuze2025@gmail.com, together with brief biobibliographies of the author(s)
by March 15, 2025.
After evaluation by the scientific committee, responses to the proposals will be given from April 20, 2025.
Organizing committee
Jacopo Bodini (Université Lyon 3), Stanislas de Courville (Université Paris 8), Cécile Sorin (Université Paris 8) et Dork Zabunyan (Université Paris 8)
Scientific committee
Nico Baumbach (Columbia, New York), Christa Blümlinger (Université Paris 8), Roberto De Gaetano (Università La Sapienza, Roma), Judith Michalet (Université Paris 1), Caroline San Martin (Université Paris 1), Guillaume Sibertin-Blanc (Université Paris 8)
Bibliography
Alliez Éric (dir.), Gilles Deleuze. Une vie philosophique. Rencontres Internationales Rio de Janeiro – São Paulo 10-14 juin 1996, Le Plessis-Robinson, Synthélabo, coll. « Les empêcheurs de tourner en rond », 1998.
Baumbach Nico, Cinema/Politics/Philosophy, New York, Columbia University Press, 2019.
Beaulieu Alain (dir.), Gilles Deleuze, héritage philosophique, Paris, PUF, coll. « Débats philosophiques », 2005.
— Gilles Deleuze et ses contemporains, Paris, L’Harmattan, coll. « Ouverture philosophique », 2011.
Bellour Raymond, L’Entre-images 2. Mots, Images, Paris, P.O.L, coll. « Trafic », 1999.
Benit Bernard, Deleuze. L’usage de l’art, Paris, L’Harmattan, coll. « Ouverture philosophique », 2022.
Bodini Jacopo, Courville (de) Stanislas et Rebecchi Marie (dir.), Cinéma du corps, cinéma du cerveau. Deleuze aux frontières de la spectatorialité, Milan, Mimésis, coll. « L’œil et l’esprit », 2024.
Buchanan Ian et MacCormack Patricia (dir.), Deleuze and the Schizoanalysis of Cinema, Londres, New Delhi, New York, Sydney, Bloomsbury, 2008.
Cantone Damiano, Cinema, tempo e soggetto. Il Sublime kantiano secondo Deleuze, Milan, Mimesis, coll. « Filosofie », 2009.
Carbone Mauro, Broggi Paride et Turarbek Laura (dir.), La Géophilosophie de Gilles Deleuze. Entre esthétiques et politiques, Milan, Mimésis, coll. « L’œil et l’esprit », 2012.
Courville (de) Stanislas, L’Écran des siècles. Deleuze, le cinéma et la guerre, Milan, Mimésis, coll. « L’œil et l’esprit », 2024.
De Gaetano Roberto (dir.), Deleuze, pensare il cinema, Rome, Bulzoni, 1993.
— Il Cinema secondo Gilles Deleuze, Rome, Bulzoni, 1996.
Dosse François et Frodon Jean-Michel (dir.), Gilles Deleuze et les images, Paris, Cahiers du cinéma, Institut National de l’Audiovisuel, coll. « Essais », 2008.
Dymek Anne, Cinéma et sémiotique : Deleuze en question, Lormont, Le bord de l’eau, coll. « Ciné-Politique », 2015.
Engell Lorenz et Fahle Oliver (dir.), Der Film bei Deleuze/Le Cinéma selon Deleuze, Weimar, Paris, Verlag des Bauhaus-Universität Weimar, Presses de la Sorbonne Nouvelle, coll. « L’œil vivant », 1999.
Escola Marc, Le Cinéma des Lumières. Diderot, Deleuze, Eisenstein, Milan, Mimésis, coll. « L’esprit des signes », 2022.
Esquenazi Jean-Pierre, L’Analyse de film avec Deleuze, Paris, CNRS, coll. « Cinéma & audiovisuel », 2017.
Fantozzi Patrizia, Della croyance al cinema. A partire da Gilles Deleuze, Milan, Mimesis, coll. « Filosofie », 2023.
Flaxman Gregory (dir.), The Brain Is the Screen. Deleuze and the Philosophy of Cinema, Minneapolis, Londres, University of Minnesota Press, 2000.
Fujita Jun, Le Ciné-capital : d’Hitchcock à Ozu. Une lecture marxiste de Cinéma de Gilles Deleuze, Paris, Hermann, coll. « L’esprit du cinéma », 2018.
Gardner Colin, Chaoid Cinema. Deleuze & Guattari and the Topological Vector of Silence, Édimbourg, Edinburgh University Press, 2023.
Hême de Lacotte Suzanne, Deleuze : philosophie et cinéma, Paris, L’Harmattan, coll. « L’Art en bref », 2001.
Jdey Adnen (dir.), Gilles Deleuze, la logique du sensible. Esthétique et clinique, Cherbourg-en-Cotentin, de l’incidence éditeur, 2013.
Krtolica Igor, Gilles Deleuze, Paris, PUF, coll. « Que sais-je ? », 2015, 2021.
— Gilles Deleuze et Félix Guattari. Une philosophie des devenirs-révolutionnaires, Paris, Amsterdam, coll. « L’émancipation en question », 2024.
Lapoujade David, Deleuze, les mouvements aberrants, Paris, Minuit, coll. « Paradoxe », 2014.
Marrati Paola, Gilles Deleuze. Cinéma et philosophie, Paris, PUF, coll. « Philosophies », 2003.
Marrati Paola, Sauvagnargues Anne et Zourabichvili François (dir.), La Philosophie de Deleuze, Paris, PUF, coll. « Quadrige manuels », 2004.
Michalet Judith, Deleuze, penseur de l’image, Saint-Denis, Presses Universitaires de Vincennes, coll. « La Philosophie hors de soi », 2020.
Montebello Pierre, Deleuze. Philosophie et cinéma, Paris, Vrin, coll. « Philosophie et cinéma », 2008.
— Deleuze, esthétiques – la honte d’être un homme, Dijon, Les presses du réel, coll. « Fama », 2017.
Pamart Jean-Michel, Deleuze et le cinéma. L’armature philosophique des livres sur le cinéma, Paris, Kimé, coll. « Philosophie en cours », 2012.
Piatti Giulio, Cosmogenesi dell’esperienza. Il campo trascendentale impersonale da Bergson a Deleuze, Milan, Mimesis, coll. « Canone minore », 2021.
Querrien Anne, Sauvagnargues Anne et Villani Arnaud (dir.), Agencer les multiplicités avec Deleuze, Paris, Hermann, coll. « Colloque de Cerisy », 2019.
Rancière Jacques, La Fable cinématographique, Paris, Seuil, coll. « La Librairie du XXIe siècle », 2001.
Rodowick David N., Gilles Deleuze’s Time Machine, Durham (NC), Duke University Press, 1997.
Sauvagnargues Anne, Deleuze. L’empirisme transcendantal, Paris, PUF, coll. « Philosophie d’aujourd’hui », 2009.
Sibertin-Blanc Guillaume, Politique et État chez Deleuze et Guattari, Paris, PUF, coll. « Actuel Marx confrontation », 2013.
Villani Arnaud, Gilles Deleuze. La guêpe et l’orchidée, Paris, ENS, coll. « Rue d’Ulm/Essai », 1999, 2020.
Wiame Aline, Revenir d’entre les morts. Deleuze et la croyance en ce monde au cinéma et dans les séries, Dijon, Les presses du réel, 2024.
Zabunyan Dork, Gilles Deleuze. Voir, parler, penser au risque du cinéma, Paris, Presses Sorbonne Nouvelle, coll. « L’œil vivant », 2008.
— Les Cinémas de Gilles Deleuze, Montrouge, Bayard, coll. « Logique des images », 2011.
Zourabichvili François, Deleuze. Une philosophie de l’événement, Paris, PUF, coll. « Philosophies », 1994.
Subjects
Places
- Université Paris 8 Vincennes – Saint-Denis - 2 rue de la Liberté
Saint-Denis, France (93)
Event attendance modalities
Full on-site event
Date(s)
- Saturday, March 15, 2025
Attached files
Keywords
- Deleuze, cinéma, études cinématographiques, philosophie, film studies, philosophie française contemporaine, media studies
Contact(s)
- Stanislas de Courville
courriel : stanislasdecourville [at] gmail [dot] com
Reference Urls
Information source
- Stanislas de Courville
courriel : stanislasdecourville [at] gmail [dot] com
License
This announcement is licensed under the terms of Creative Commons CC0 1.0 Universal.
To cite this announcement
« “The Movement-Image” and “The Time-Image” by Gilles Deleuze: contemporary uses of film thinking », Call for papers, Calenda, Published on Thursday, January 23, 2025, https://doi.org/10.58079/1350o
