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Time without pity: Immanence and con...

Gardner, Colin Raymond.

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Time without pity: Immanence and contradiction in the films of Joseph Losey.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Time without pity: Immanence and contradiction in the films of Joseph Losey./
Author:	Gardner, Colin Raymond.
Description:	1305 p.
Notes:	Source: Dissertation Abstracts International, Volume: 58-06, Section: A, page: 1965.
Contained By:	Dissertation Abstracts International58-06A.
Subject:	Cinema. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=9737352
ISBN:	0591470462

Time without pity: Immanence and contradiction in the films of Joseph Losey.
Gardner, Colin Raymond.

Time without pity: Immanence and contradiction in the films of Joseph Losey. - 1305 p.

Source: Dissertation Abstracts International, Volume: 58-06, Section: A, page: 1965.

Thesis (Ph.D.)--University of California, Los Angeles, 1997.

Until recently, film theory had been dominated by psychoanalytic and semiotic paradigms, focusing specifically on the imbrication of race, class and gender. Philosophically derived from Hegel and Freud, these are theories predicated on lack and negation, by which desire is defined as a teleological drive toward recouping lost plenitude. Today, Gilles Deleuze's affirmative ontological reading of the cinema has counterbalanced lack theory with a more theatrical, performative, and somatically-based expressionism. Cinematic signs and images are seen less as a dialectic between Hegel's "One and the Multiple" and more as multiplicities of difference.

ISBN: 0591470462Subjects--Topical Terms:

854529
Cinema.

Time without pity: Immanence and contradiction in the films of Joseph Losey.
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100 1 $a Gardner, Colin Raymond. $3 1944064
245 1 0 $a Time without pity: Immanence and contradiction in the films of Joseph Losey.
300 $a 1305 p.
500 $a Source: Dissertation Abstracts International, Volume: 58-06, Section: A, page: 1965.
500 $a Chair: Nicholas Browne.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 1997.
520 $a Until recently, film theory had been dominated by psychoanalytic and semiotic paradigms, focusing specifically on the imbrication of race, class and gender. Philosophically derived from Hegel and Freud, these are theories predicated on lack and negation, by which desire is defined as a teleological drive toward recouping lost plenitude. Today, Gilles Deleuze's affirmative ontological reading of the cinema has counterbalanced lack theory with a more theatrical, performative, and somatically-based expressionism. Cinematic signs and images are seen less as a dialectic between Hegel's "One and the Multiple" and more as multiplicities of difference.
520 $a Unfortunately, many film studies tend to subsume these conflicting ontologies into a single paradigm, whether dialectical or immanent. A more fruitful approach would explore the imbrication of these differing/deferring lineages and their innately antinomous relationship. This dissertation is thus a theoretical and practical intervention, aimed at exploring difference across and between dialectical and immanent readings, focusing specifically on the impasse between the historicist rationality of Hegelian dialectics and the more libidinal, temporal economies associated with Nietzsche, Spinoza and Bergson.
520 $a The work's theoretical springboard is Deleuze's Cinema 1 and Cinema 2, as well as Jacques Derrida's extrapolation of the aporia--the unresolvable impasse between antinomies that deconstruction finds at the heart of all narrative--and the Marxian specter. More specifically, the project deploys Deleuze's different image categories to explicate the aporetic issues of immanence and contradiction in the work of blacklisted American director, Joseph Losey (1909-1984). By focusing on Losey's naturalist and Marxist approaches to cultural politics, I show how Deleuze's affirmative notion of the multiplicity can elucidate many ontological issues that elude a conventional dialectical analysis. The key in Losey's case is the aporia between the impulse- and time-images, in particular his stubborn commitment to class conflict in the face of a simultaneous usurpation of sovereignty by Deleuze's more internalized, primordial naturalism. The result is a mutual imbrication of readings: Losey is clarified through Deleuze, but at the same time I also offer an expanded theorization of the latent temporal content of the impulse-image when confronted with the intransigent problem of the director's baroque Marxism.
590 $a School code: 0031.
650 4 $a Cinema. $3 854529
650 4 $a Philosophy. $3 516511
650 4 $a History, European. $3 1018076
690 $a 0900
690 $a 0422
690 $a 0335
710 2 0 $a University of California, Los Angeles. $3 626622
773 0 $t Dissertation Abstracts International $g 58-06A.
790 1 0 $a Browne, Nicholas, $e advisor
790 $a 0031
791 $a Ph.D.
792 $a 1997
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=9737352