Fath Taheri, Ali, Jafariyan, Faezeh. (1396). Ontology of Time in Cinema A Deleuzian reading of Still Life and Prince Ehtejab With an emphasis on the concept of Time-Image. مجله پژوهشهای فلسفی دانشگاه تبریز, 11(21), 39-52.
Ali Fath Taheri; Faezeh Jafariyan. "Ontology of Time in Cinema A Deleuzian reading of Still Life and Prince Ehtejab With an emphasis on the concept of Time-Image". مجله پژوهشهای فلسفی دانشگاه تبریز, 11, 21, 1396, 39-52.
Fath Taheri, Ali, Jafariyan, Faezeh. (1396). 'Ontology of Time in Cinema A Deleuzian reading of Still Life and Prince Ehtejab With an emphasis on the concept of Time-Image', مجله پژوهشهای فلسفی دانشگاه تبریز, 11(21), pp. 39-52.
Fath Taheri, Ali, Jafariyan, Faezeh. Ontology of Time in Cinema A Deleuzian reading of Still Life and Prince Ehtejab With an emphasis on the concept of Time-Image. مجله پژوهشهای فلسفی دانشگاه تبریز, 1396; 11(21): 39-52.
Ontology of Time in Cinema A Deleuzian reading of Still Life and Prince Ehtejab With an emphasis on the concept of Time-Image
1Associate Professor, Imam Khomeini International University, Qazvin
2Ph.D. in performing art, Ferrara University, Italy
چکیده
Gilles Deleuze, the notable post-modern philosopher, in his two-volume cinematic books Cinema 1: movement-image (1986) and Cinema 2: time-image (1989) recognizes two major periods in history of cinema (classic and modern) in terms of representing movement and time respectively. Referring to various films of modern cinema especially post-war European cinema like Italian neorealism, Cinema2 speaks about the possibility of direct presentation of time in cinematic works. Explaining Deleuze’s theories and his two formulations of direct presentation of time as ‘pure optical situations’ and ‘sheets of the past’, in this essay we try to give an analysis of the two most important films of Iranian history of cinema: Still Life (1974) and Prince Ehtejab (1974). Finally, we will conclude that these films are not mere representation of preexisting philosophical concepts, rather in contrast to linguistic thought, they provide some kind of visual and non-linguistic philosophical meditations of time, cinema of time
Ontology of Time in Cinema A Deleuzian reading of Still Life and Prince Ehtejab With an emphasis on the concept of Time-Image
نویسندگان [English]
Ali Fath Taheri1؛ Faezeh Jafariyan2
1Associate Professor, Imam Khomeini International University, Qazvin
2Ph.D. in performing art, Ferrara University, Italy
چکیده [English]
Gilles Deleuze, the notable post-modern philosopher, in his two-volume cinematic books Cinema 1: movement-image (1986) and Cinema 2: time-image (1989) recognizes two major periods in history of cinema (classic and modern) in terms of representing movement and time respectively. Referring to various films of modern cinema especially post-war European cinema like Italian neorealism, Cinema2 speaks about the possibility of direct presentation of time in cinematic works. Explaining Deleuze’s theories and his two formulations of direct presentation of time as ‘pure optical situations’ and ‘sheets of the past’, in this essay we try to give an analysis of the two most important films of Iranian history of cinema: Still Life (1974) and Prince Ehtejab (1974). Finally, we will conclude that these films are not mere representation of preexisting philosophical concepts, rather in contrast to linguistic thought, they provide some kind of visual and non-linguistic philosophical meditations of time, cinema of time.
کلیدواژه ها [English]
Gilles Deleuze, time-image, Still Life, sheets of the past, Prince Ehtejab
مراجع
- Bogue, Ronald (2003), Deleuze on Cinema, London & New York: Routledge.
- Colebrook,Claire.(2002a), Gilles Deleuze. London and New York: Routledge.
- Colebrook,Claire.(2002b), Understanding Deleuze, London: Allen and Unwin.
- Dabashi, Hamid (2001), Close-Up: Iranian Cinema, Past, Present and Future, Verso, London, New York.
- Deleuze, Gilles (1986), Cinema 1: The Movement-Image, trans. Hugh Tomlison, Barbara Habberjam, London: Athlone Press.
- Deleuze, Gilles (1989), Cinema 2: The Time-Image, trans. Hugh Tomlison, Barbara Habberjam London: Athlone Press
- Deleuze, Gilles (1994), Difference and repetition, Continuum: Athlone Press, London
- Marrati, Paola (2008), Gilles Deleuze: Cinema and Philosophy, trans. Alisa Hartz, Baltimore: The Johns Hopkins University Press.
- Rodowick, D.N (2010), Afterimages of Gilles Deleuze’s Film Philosophy; edited by Rodowick, University of Minnesota Press. Minneapolis. London
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