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}Interesting questions regarding phenomenology and semiology.
Possibly nothing new for many of you, but I've been working on the sense of a 'transsemiotics' that
Deleuze and Guattari propose in A Thousand Plateaus, and which Deleuze employs in the cinema books,
drawing on Metz, Mitry, Peirce, and Pasolini's semiology in particular plays a large role.etc. I
have in mind to construct an account of types of feminist semiotics of cinematic language, as I'm
drawn to the type of structuralist excercises in filmmaking that have been mentioned in the last few
posts.
Regarding phenomenology, Damian, I quite like the Deleuzian take with regard to thinking about the
significance of film forms :
In Deleuze’s philosophy, immanence is the opposite of the type oftranscendent position that
phenomenology proposes (as a privileged mode of “experience”of something, whether an economic,
spiritual, or gendered state). Deleuze takesSpinoza’s position on immanence, regarding experience as
being somethingcreated within a particular state or situation (Deleuze 1992: 169-172). Thusimmanent
states, such as perception, are to be understood in the Deleuziansense as expressions created within
the conditions of the image, not against oroutside of them; as an ‘image of thought’ (cf. Deleuze &
Guattari 1994:37). ‘With the cinema, it is the world which becomes its own image’, Deleuzeargues,
‘and not an image which becomes world’ (C1: 57).
I always think of the tv series Monkey - "With our thoughts, we make the world!"
cheers,
felicity
Dr Felicity J Colman
Senior Lecturer
Program Leader in Film & Media
MIRIAD Media Research Centre Leader
Department of Media
The Manchester School of Art
Manchester Metropolitan University
Righton Building
Cavendish Street
Manchester M15 6GB
www.mmu.ac.uk/artschool
+44 (0)161 2471944
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