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Deleuze and Guattari oppose the Freudian conception of the unconscious as a representational "theater", instead favoring a productive "factory" model: desire is not an imaginary force based on lack, but a real, productive force. They describe the machinic nature of desire as a kind of "desiring-machine" that functions as a circuit breaker in a ...
Cinema 1: The Movement Image (French: Cinéma 1. L'image-mouvement) (1983) is the first of two books on cinema by the philosopher Gilles Deleuze, the second being Cinema 2: The Time Image (French: Cinéma 2.
Deleuze and Guattari develop a critique of Freud and Lacan's psychoanalysis, anti-psychiatry, and Freudo-Marxism (with its insistence on a necessary mediation between the two realms of desire and the social). Deleuze and Guattari's concept of sexuality is not limited to the interaction of male and female gender roles, but instead posits a ...
Gilles Louis René Deleuze (/ d ə ˈ l uː z / də-LOOZ; French: [ʒil dəløz]; 18 January 1925 – 4 November 1995) was a French philosopher who, from the early 1950s until his death in 1995, wrote on philosophy, literature, film, and fine art.
Plane of immanence (French: plan d'immanence) is a founding concept in the metaphysics or ontology of French philosopher Gilles Deleuze. Immanence, meaning residing or becoming within, generally offers a relative opposition to transcendence, that which extends beyond or outside. Deleuze "refuses to see deviations, redundancies, destructions ...
1. 'Blade Runner' (1982) “Blade Runner” takes place in 2019, a year that came and went a while ago without all of the movie’s predictions coming to pass.
Gilles Deleuze and Félix Guattari note that deterritorialization and reterritorialization occur simultaneously. The function of deterritorialization is defined as "the movement by which one leaves a territory", also known as a "line of flight", but deterritorialization also "constitutes and extends" the territory itself.
The first three chapters of Cinema 2, each outlining a number of ways of approaching what Deleuze calls "the time-image". The first chapter explores the works of various filmmakers who were, according to Deleuze, precursors to time-images.