Abstract
In Afterimages of Gilles Deleuze’s Film Philosophy (2002), Giuliana Bruno’s piece reaffirms the conceptual elasticity of affect. Building on Deleuze’s notion of “an affection-image,” Bruno insists that affect must be “an extensive form of contact [sic]: a transmission that communicates in different spaces, and does so tangibly” (2002: 214, original emphasis). Affect as a palpably intersubjective materialization—regardless of its transitory but nearly always seizing nature alongside basic emotions—indeed connects aesthetically dissimilar films anew through a gendered perspective in Affective Moments in the Films of Martel, Carri, and Puenzo. In so doing, this book has highlighted the ways in which several prominent women filmmakers have innovatively contributed to the NAC’s morphing to heterogeneous aesthetic directions.
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Notes
- 1.
Following much of Béla Balázs’s conceptualization of affect , Deleuze zooms in on the face as a source of affect in Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986), 213.
- 2.
Ann Kaplan , Women Filmmakers: Refocusing, eds., Jacqueline Levitin, Judith Plessis, and Valerie Raoul (New York: Routledge, 2003), 27.
- 3.
Gilles Deleuze , Nietzsche and Philosophy, trans. Hugh Tomlinson (New York: Columbia University Press, 2006), 54.
- 4.
Alison Butler, Women’s Cinema: The Contested Screen (London: Wallflower, 2002), 22.
- 5.
Deborah Martin and Deborah Shaw. eds., Latin American Women Filmmakers: Production, Politics, Poetics (London: I.B. Tauris & Co. Ltd, 2017), 25.
- 6.
Jacques Rancière, Dissensus: On Politics and Aesthetics (London: Bloomsbury, 2010), 127.
- 7.
Gabriel Rockhill, “Editor’s Introduction: Jacques Rancière’s Politics of Perception,” in The Politics of Aesthetics: The Distribution of the Sensible, trans. Gabriel Rockhill (London: Bloomsbury Academic, 2015), xii.
Bibliography
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Butler, Alison. Women’s Cinema: The Contested Screen. London: Wallflower Press, 2002.
Deleuze, Gilles. Nietzsche and Philosophy. Translated by Hugh Tomlinson. New York: Columbia University Press, 2006.
Kaplan, Ann. “Women, Film, Resistance: Changing Paradigms.” In Women Filmmakers: Refocusing, edited by Jacqueline Levitin, Judith Plessis, and Valerie Raoul, 15–28. New York: Routledge, 2003.
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Rancière, Jacques. Dissensus: On Politics and Aesthetics. London: Bloomsbury, 2013.
Rockhill, Gabriel. “Jacques Rancière’s Politics of Perception.” In The Politics of Aesthetics: The Distribution of the Sensible, translated and edited by Gabriel Rockhill, xii–xvii. London: Bloomsbury, 2015.
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Selimović, I. (2018). Conclusion. In: Affective Moments in the Films of Martel, Carri, and Puenzo. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-49642-3_5
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DOI: https://doi.org/10.1057/978-1-137-49642-3_5
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