## Tom Conley (2011). *Deleuze and the Filmic Diagram*. : . > [!INFO] > Type:: [[article]] > Title:: Deleuze and the Filmic Diagram > Author(s): [[Tom Conley]] > Year:: 2011 > Tags:: > DOI:: 10.3366/dls.2011.0016 > Citekey:: conley_deleuze_2011 > ZoteroURI:: [Open in Zotero: Deleuze and the Filmic Diagram](zotero://select/items/@conley_deleuze_2011) > ReviewedDate:: [[2023-09-25]] ## Citation ```latex [@conley_deleuze_2011] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@conley_deleuze_2011]] and -"Plans" and -"resources" ``` ## Summary 이 글은 '도표' 또는 '작은 기계'가 어떻게 블랑쇼의 작업을 표시하는 해리성, 동시에 다성적이고 다형적인 글쓰기에 필수적이며, 이는 다시 영화에 대한 들뢰즈의 저술 등록 내에서 분절적인 - 따라서 비판적이고 생산적인 - 작업을 알리는 데 필수적인지 고려하는 것을 목표로합니다. 나는 들뢰즈의 여러 '키워드' 또는 반복되는 공식을 도표로서, 즉 시각적이고 어휘적인 중간 구성으로 간주하여 리부스나 표의문자처럼 그것이 어떻게 음성 및 그래픽 형식의 충돌과 파열을 형성하여 사고의 '외부', 즉 언어에 넣을 수없는 것을 언어로 전달하기 위해 어떻게 전달되는지 보여줄 것입니다. ## Annotation > 이안 뷰캐넌은 저자의 작업 과정에서 '특정 단어와 이미지' 또는 '다이어그램'이 배치되는 맥락에 따라 '작은 기계의 방식으로' 기능한다고 주장합니다. ([[@buchanan_is_2010]], 136). “들뢰즈는 광범위하고 매우 효과적인 정치 미학에서 영화 인물을 다루고 있습니다 […] 들뢰즈는 영화가 시각적 미덕과 어휘적 미덕을 동시에 지닌 매체라고 반복해서 주장했습니다.” (Conley, 2011, p. 163) Right from the outset of L'Image- mouvement, writing of the rarefaction or saturation of the cinematic surface within the borders of the frame, Deleuze remarks that ‘l'image ne se donne pas seulement à voir. Elle est lisible autant que visible' (the image is given not solely to be seen. It is as much legible as it is visible) ([[@deleuze_cinema_1986]], 24 (체크)). Such may be the cinematic diagram to which Buchanan refers. [Link](zotero://open-pdf/library/items/4F4EFSEF?page=2 ) Blanchot's reflections on the dehors or the `outside' – a space beyond meaning or that cannot be put in words or that resists all ideation, she argued, bear directly on Deleuze's appreciation of cinema that confronts an `outside' and an `inside' independently of any spatial and temporal distance or interval. [Link](zotero://open-pdf/library/items/4F4EFSEF?page=2 ) `thinking outside of itself' [Link](zotero://open-pdf/library/items/4F4EFSEF?page=2 ) As a corollary, they become quasi-cinematic `icons' or filmic shapes where writing and cinema are of the same meddle. [Link](zotero://open-pdf/library/items/4F4EFSEF?page=3 ) The diagram is abstract in nature, and it is even a ordering of chaos, ‘a catastrophe', but also the germ of rhythm, a violent disorder in respect to figuration (Deleuze 2003: 83). [Link](zotero://open-pdf/library/items/4F4EFSEF?page=3 ) In her words, ‘the outside obstructs the interiority of the inside and removes all spatial anchoring from exteriority itself' (19). [Link](zotero://open-pdf/library/items/4F4EFSEF?page=4 ) The dialogue with Foucault further allows him to develop fresh speculation about the nature of a `diagram'. [Link](zotero://open-pdf/library/items/4F4EFSEF?page=4 ) History, taken to be an archive, is a recognisable architecture (form) whereas the diagram that both duplicates and exceeds the latter is an open and not entirely predictable `becoming' (force). [Link](zotero://open-pdf/library/items/4F4EFSEF?page=4 ) g. A diagram is at once a map and layering of maps superimposed upon one another from which an implied `stratigraphy' is availed to the reader or archaeologist whose eyes move across them, one stratum over another, in order to discern where forces might be vectored from given coordinates in the archive or geology of `forms' in which they seem to be concealed. [Link](zotero://open-pdf/library/items/4F4EFSEF?page=4 ) From diagrams a regime of creativity, mutation and resistance becomes possible. [Link](zotero://open-pdf/library/items/4F4EFSEF?page=4 ) Using Bresson as Blanchot's double, Deleuze cites the filmmaker's Notes sur le cinématographe to affirm how a principle of non-coincidence or difference operates in cinema. [Link](zotero://open-pdf/library/items/4F4EFSEF?page=5) ### Related ```dataview LIST FROM [[@conley_deleuze_2011]] and -"Plans" and -"resources" ```