There probably is a methodology of sorts in
Deleuze's cinema books, but its one we would have
to develop, since (and this is a major weakness
in his work) he does no intensive case-analyses
of film.
Consider his simple/complex point that - every repetition is a new beginning.
Don
>Just one afterthought to what I wrote about
>Deleuze and Cavell. Though I love Lynch's *Fire
>Walk With Me* and *Mulholland Drive*, I often
>have the impression, that he is too much a sure
>shot for philosophy. It is too clear, that
>´*Lost Highway* is artful and ambivalent. It is
>the kind of film Deleuze would have loved,
>whereas I feel repelled by this film as being
>too self conscious. I don't understand why it
>would help us too read the film as being
>structured as a Moebius strip. It may give the
>film an abstractness which is interesting for
>the abstractness of philosophical thinking. But
>nevertheless, a repetition is a repetition. I
>didn't like the repition and reversal in *Lost
>Highway*. The first half is ok, the second half
>annoys me and took away everything I should have
>liked about a film, who did scare me so much.
>*Mulholland Drive* did scare me from the
>beginning to the end, and that is why I want to
>think about the film and about my experience of
>this film philosophically. How could one claim
>that a film's is incomplete without the use of
>some kind of methodology, discourse or
>knowledge. A film is what is right before my
>eyes. It gives me the words with which I can
>communicate that experience. The interpretation
>might be better if I succeed in combining it
>with some thoughts by Deleuze or Cavell or
>whoever, but the interpretation does not depend
>on that.
>Herbert
>
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