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Belief in the body: Philippe Garrel's Le 'Revelateur' and Deleuze (Gilles Deleuze)

Research output: Contribution to journalArticle

Original languageEnglish
Pages (from-to)159 - 172
Number of pages14
Issue number2
PublishedJul 2008

King's Authors


In Cinema II Deleuze proposes, via early film theorists, that cinema Call realise the potential inherent ill art to act directly on the nervous system. Cinema had the 'sublime' capacity to shock thought into activity, and awaken the 'spiritual automaton' in us through vibrations and affects, rather than representations. Deleuze finds a variant of this argument in the writings of Artaud oil cinema, ill which film forces the realisation of an impotence at the heart of thought. Deleuze then proposes that the only response to this impotence is belief in the connection between man and the world, as expressed and realised in a corporeal cinema Of gestures, the prime example of which, in his view, is the work of Philippe Garrel. I will address Garrel's film Le Revelateur in relation to these propositions, focussing also on how the film works primarily at the level of sensory and gestural dynamics, rather than narrative or representation

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