Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

A Restive Word

A Restive Word In the middle of the chapter that he devotes to the concept of the ‘image-pulsion’ (roughly translated as ‘force-’ or ‘drive-image’) in Cin´ma 1, Gilles Deleuze inserts a brief reflection 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 Bu˜ uel or Joseph Losey do with these images in their n films. 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 Bacon’s paintings when he evokes an ‘emanation’ 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 — generally http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Paragraph Edinburgh University Press

A Restive Word

Paragraph , Volume 27 (2): 77 – Jul 1, 2004

Loading next page...
 
/lp/edinburgh-university-press/a-restive-word-mvpVmsVxV3

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
ISSN
0264-8334
eISSN
1750-0176
DOI
10.3366/para.2004.27.2.77
Publisher site
See Article on Publisher Site

Abstract

In the middle of the chapter that he devotes to the concept of the ‘image-pulsion’ (roughly translated as ‘force-’ or ‘drive-image’) in Cin´ma 1, Gilles Deleuze inserts a brief reflection 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 Bu˜ uel or Joseph Losey do with these images in their n films. 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 Bacon’s paintings when he evokes an ‘emanation’ 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 — generally

Journal

ParagraphEdinburgh University Press

Published: Jul 1, 2004

There are no references for this article.