Oravala, Juha

Julkaisun nimi: Kohti elokuvallista ajattelua : virtuaalisen todellisen ontologia Gilles Deleuzen ja Jean-Luc Godardin elokuvakäsityksissä. (Language Finnish)

Jyväskylä : Jyväskylän yliopisto : 2008.
– (Jyväskylä studies in humanities, ISSN 1459-4323; 92).
– Diss. Jyväskylän yliopisto.
– Diss. Jyväskylän yliopisto, taidekasvatus.
ISBN 978-951-39-3194-0 (nid.).

Subjects: Deleuze, Gilles.; Godard, Jean-Luc.; film – forskning; film – teorier; konstfilosofi; filmer; konstteorier; estetik; konstfostran; elokuva – tutkimus; elokuva – teoriat; taidefilosofia; taideteoriat; estetiikka; elokuvailmaisu; montaasi; elokuvakasvatus; elokuvaohjaajat; elokuvat; käsitykset; ontologia; yleisö; taideteoriat – elokuva; elokuvailmaisu – teoriat; elokuvat – estetiikka; ontologia – taidefilosofia; elokuva – taidefilosofia; elokuva; konstruktivismi; immanenssi;

–> Original record: http://linda.linneanet.fi/F/?func=direct&doc_number=000590372&local_base=fin01

Abstract: The thesis examines the connection between Gilles Deleuze’s pluralistic ontology of becoming and philosophy of cinema and French director Jean-Luc Godard’s theory of montage. It analyzes the issue of representation in audiovisual media and cinematic ontology based on time and movement. The research problem is to examine how these issues are manifested in Godard’s cinema.The questions are examined in light of the modern turn in the theory of cinema. The study’s object is to situate Godard’s cine-thinking within current discussions in late modern aesthetics and theories of art concerning authorship, expression, perception and experience. In his cinema, Godard materializes the impossible, the unknown flows of innerness, in expressions which exceed the frame of normal thinking and the border between the real and unreal. Montage is for Godard a system of audiovisual thinking, expression and perception which converts the image-matter of the ’audiovisual body’ and relates it to the receiver by the two-fold functioning of spiritual automaton.In the thesis, it is shown that Godard’s montage cinema adapts Deleuze’s transcendental empiricism, ‘virtual realism’, which makes possible the productive relationship between author, work and receiver as the ontology of becoming. Godard sees this strive to produce ontological pluralism as an ethical basis of his montage cinema. It enables the actualization of multiple virtual potentialities into new affects and events in constructing the experience. In this context, authorship becomes a mark of the new model of cinematic communication as a productive force, which can function likewise in the author or the receiver.

Info: http://urn.fi/URN:ISBN:978-951-39-3222-0

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