By C. Gardner
An expressive discussion among Deleuze's philosophical writings on cinema and Beckett's leading edge movie and tv paintings, the e-book explores the connection among the start of the development – itself a simultaneous invention and erasure - and Beckett's makes an attempt to create an incommensurable house in the interstices of language as a (W)hole.
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Extra resources for Beckett, Deleuze and the Televisual Event: Peephole Art
Thus a character leaves a room, we cut to them stepping into the street, and we make the necessary linkages to assume that the character has ‘gone outside’. If we then cut to them sitting in the back of a taxi, it is not difficult to assume that they are on their way somewhere. What happens when this degree of motorconnection breaks down? We find it difficult to link together scenes in a logical continuity. We become more aware of the cut and splice between scenes than the scenes themselves. The latter become autonomous and self-contained, forcing us to read continuity as a disjuncture – as in the split between subjective and objective points-of-view in Beckett’s Film – or as a simple case of addition, as in the alternating shifts between the Black Panthers and The Rolling Stones – a rehearsal of the revolution PLUS the rehearsal of ‘Sympathy for the Devil’ – in Godard’s One Plus One (1968).
Hamlet’s famous observation that, ‘Time is out of joint’ can be read simply as temporal discontinuity, but also in its more literal sense of a dehiscence, in that time has escaped out of the ‘between of the joint’, like blood escaping from the sutures of a wound, disclosing the immanent, ever-changing temporal Whole that is usually covered up by the smooth sequencing of montage itself. It is the autonomy of the interstice that allows the immanent Whole – Bergsonian difference as a durational multiplicity – to well up from below.
As Uhlmann explains, ‘The relation stresses the link from which the allusion draws its power. The nonrelation stresses a different kind of power, one which remains open to interpretation precisely because no ready connection is made, or such a connection remains in suspension’ (Uhlmann, 2006, p. 48). Bergson could be said to belong to the Direct Realist, non-relational camp insofar as images and bodies have being in their own right and thus have an ontological basis. They act directly upon us, as sound waves vibrating the mechanism of our inner ear, as bodies touching ours, as molecules affecting our taste and smell, and as light waves passing into our eyes.
Beckett, Deleuze and the Televisual Event: Peephole Art by C. Gardner