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Memories of the Unlived Body: Jean-Louis Schefer, Georges Bataille and Gilles Deleuze

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Memories of the Unlived Body : Jean-Louis Schefer, Georges Bataille and Gilles Deleuze. / Ffrench, Patrick.

In: Film-Philosophy, Vol. 21, No. 2, 06.2017, p. 161-187.

Research output: Contribution to journalArticlepeer-review

Harvard

Ffrench, P 2017, 'Memories of the Unlived Body: Jean-Louis Schefer, Georges Bataille and Gilles Deleuze', Film-Philosophy, vol. 21, no. 2, pp. 161-187. https://doi.org/10.3366/film.2017.0042

APA

Ffrench, P. (2017). Memories of the Unlived Body: Jean-Louis Schefer, Georges Bataille and Gilles Deleuze. Film-Philosophy, 21(2), 161-187. https://doi.org/10.3366/film.2017.0042

Vancouver

Ffrench P. Memories of the Unlived Body: Jean-Louis Schefer, Georges Bataille and Gilles Deleuze. Film-Philosophy. 2017 Jun;21(2):161-187. https://doi.org/10.3366/film.2017.0042

Author

Ffrench, Patrick. / Memories of the Unlived Body : Jean-Louis Schefer, Georges Bataille and Gilles Deleuze. In: Film-Philosophy. 2017 ; Vol. 21, No. 2. pp. 161-187.

Bibtex Download

@article{cbd7818236174955b146684e909308b4,
title = "Memories of the Unlived Body: Jean-Louis Schefer, Georges Bataille and Gilles Deleuze",
abstract = "Jean-Louis Schefer{\textquoteright}s newly translated The Ordinary Man of Cinema, originally published in 1980, proposes a singular account of the experience of cinema which departs from the principal tendencies of film theory. It has nevertheless had a profound if somewhat invisible influence in film philosophy and theory since its publication, notably in the work of Gilles Deleuze. This essay proposes a synthetic discussion of Schefer{\textquoteright}s work on film up to The Ordinary Man, arguing that Schefer{\textquoteright}s work, which draws on his earlier work on painting, construes film as radically non-representational, and as bringing into being, in the spectator, a virtual affectivity corresponding to the distorted and disproportionate bodies and aberrant movements that it presents. I argue that in its recurrent emphasis on the “inchoate” elements in film, and on the “inceptions” of movements that it provokes, Schefer{\textquoteright}s thought draws implicitly on the Bataillean notion of the informe. This return to an impossibility of thought at the heart of thought is among the fundamental insights which Deleuze draws from Schefer in Cinema 2: The Time-image. ",
keywords = "Jean-Louis Schefer, Gilles Deleuze, Formlessness (informe), Ordinary Man of Cinema",
author = "Patrick Ffrench",
year = "2017",
month = jun,
doi = "10.3366/film.2017.0042",
language = "English",
volume = "21",
pages = "161--187",
journal = "Film-Philosophy",
issn = "1466-4615",
publisher = "Edinburgh University Press",
number = "2",

}

RIS (suitable for import to EndNote) Download

TY - JOUR

T1 - Memories of the Unlived Body

T2 - Jean-Louis Schefer, Georges Bataille and Gilles Deleuze

AU - Ffrench, Patrick

PY - 2017/6

Y1 - 2017/6

N2 - Jean-Louis Schefer’s newly translated The Ordinary Man of Cinema, originally published in 1980, proposes a singular account of the experience of cinema which departs from the principal tendencies of film theory. It has nevertheless had a profound if somewhat invisible influence in film philosophy and theory since its publication, notably in the work of Gilles Deleuze. This essay proposes a synthetic discussion of Schefer’s work on film up to The Ordinary Man, arguing that Schefer’s work, which draws on his earlier work on painting, construes film as radically non-representational, and as bringing into being, in the spectator, a virtual affectivity corresponding to the distorted and disproportionate bodies and aberrant movements that it presents. I argue that in its recurrent emphasis on the “inchoate” elements in film, and on the “inceptions” of movements that it provokes, Schefer’s thought draws implicitly on the Bataillean notion of the informe. This return to an impossibility of thought at the heart of thought is among the fundamental insights which Deleuze draws from Schefer in Cinema 2: The Time-image.

AB - Jean-Louis Schefer’s newly translated The Ordinary Man of Cinema, originally published in 1980, proposes a singular account of the experience of cinema which departs from the principal tendencies of film theory. It has nevertheless had a profound if somewhat invisible influence in film philosophy and theory since its publication, notably in the work of Gilles Deleuze. This essay proposes a synthetic discussion of Schefer’s work on film up to The Ordinary Man, arguing that Schefer’s work, which draws on his earlier work on painting, construes film as radically non-representational, and as bringing into being, in the spectator, a virtual affectivity corresponding to the distorted and disproportionate bodies and aberrant movements that it presents. I argue that in its recurrent emphasis on the “inchoate” elements in film, and on the “inceptions” of movements that it provokes, Schefer’s thought draws implicitly on the Bataillean notion of the informe. This return to an impossibility of thought at the heart of thought is among the fundamental insights which Deleuze draws from Schefer in Cinema 2: The Time-image.

KW - Jean-Louis Schefer

KW - Gilles Deleuze

KW - Formlessness (informe)

KW - Ordinary Man of Cinema

U2 - 10.3366/film.2017.0042

DO - 10.3366/film.2017.0042

M3 - Article

VL - 21

SP - 161

EP - 187

JO - Film-Philosophy

JF - Film-Philosophy

SN - 1466-4615

IS - 2

ER -

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