El escultor del tiempoclaves de la “filosofía cinematográfica” de Gilles Deleuze

  1. Fco. Javier Ruiz Moscardó
Journal:
Estudios de Filosofía

ISSN: 0121-3628,  2256-358X

Year of publication: 2018

Issue: 58

Pages: 119-142

Type: Article

DOI: 10.17533/UDEA.EF.N58A06 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Estudios de Filosofía

Abstract

Gilles Deleuze has offered in his two studies on cinema —L’image–mouvement and L’image– temps— one of the most ambitious proposals of the last decades on the relation between philosophy and cinema, constructing a true “cinematographic philosophy” and inaugurating, in parallel to Stanley Cavell, a fruitful line of philosophical research that has been called “film–philosophy”. His first work focuses, essentially, on a metaphysics of time inspired by the philosophy of Henri Bergson, but using the possibilities of cinema to complement and transcend the ideas of the author of L’évolution créatice. In his second work, on the other hand, Deleuze analyzes film modernity, together with the new regime of images that it promotes, as a symptom of contemporary nihilism and in turn as a tool that can collaborate in its overcoming. We will try to make a general pres¬entation of the keys of the Deleuzian approach, taking as a reference the following two axes: the conception of cinema as a true ontological model capable of allowing us to think of the time and the universe in a promising way, and the aptitudes of cinema as an ethical instance from which to oppose the dangers of contemporary nihilism.

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