Access the full text.
Sign up today, get DeepDyve free for 14 days.
References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.
In the middle of the chapter that he devotes to the concept of the âimage-pulsionâ (roughly translated as âforce-â or âdrive-imageâ) in Cin´ma 1, Gilles Deleuze inserts a brief reï¬ection on Jean Genet. The e drive-image belongs to classical cinema. It is frequently a close-up of a detail, a fragment, or a bodily part that somehow has the potential of exploding the narrative in which it is placed. Genet, adds the philosopher, accomplishes in his descriptions what Bacon does with portraiture and BuË uel or Joseph Losey do with these images in their n ï¬lms. In their respective media all of them embody a violence in act, before it turns into action. It is no more tied to an image of action than to the representation of a scene. It is a violence that is not only interior or innate but also static, of an equivalent found only in Baconâs paintings when he evokes an âemanationâ coming from an immobile character or with Jean Genet in literature when he describes the extraordinary violence that can inhabit an immobile hand at rest [une main immobile au repos].1 Whether seen in passing or with prolonged attention, a detail â generally
Paragraph – Edinburgh University Press
Published: Jul 1, 2004
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.