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Film theory has for so long focused on sociological, empirical, and psychoanalytic approaches that aesthetic sensibilities seem to have been forgotten. This book puts the emphasis back on film as an art form. Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days, and Leon, the book offers a new and creative collusion between Deleuzian philosophy -- specifically Deleuze's ideas about desire, pleasure, sensation, affect, and "becoming-woman" -- and contemporary film studies.
Now available in paperback, this provocative study forges new and creative connections between Deleuzian philosophy and contemporary film studies.When watching films we respond to the visual elements of colour, movement, rhythm and sensation through our bodies as well as our minds. Barbara Kennedy shows how we can understand this response as an 'aesthetics of sensation', which in turn can begin to explain the experience of the spectator, who feels the film as an event.Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon this subtle and powerful book reintroduces debates about film as an art form and the place of film theory within our aesthetic sensibilities.
Now available in paperback, this provocative study forges new and creative connections between Deleuzian philosophy and contemporary film studies.When watching films we respond to the visual elements of colour, movement, rhythm and sensation through our bodies as well as our minds. Barbara Kennedy shows how we can understand this response as an 'aesthetics of sensation', which in turn can begin to explain the experience of the spectator, who feels the film as an event.Through discussions of Orlando, The English Patient, Romeo and Juliet, Strange Days and Leon this subtle and powerful book reintroduces debates about film as an art form and the place of film theory within our aesthetic sensibilities.