Beckett, Deleuze and the Televisual Event

An expressive dialogue between Deleuze's philosophical writings on cinema and Beckett's innovative film and television work, the book explores the relationship between the birth of the event itself a simultaneous invention and erasure - and Beckett's attempts to create an incommensurable space within the interstices of language as a (W)hole.

Autorentext
COLIN GARDNER is Professor of Critical Theory and Integrative Studies at University of California, Santa Barbara, USA, where he teaches in the departments of Art, Film & Media Studies, Comparative Literature and the History of Art & Architecture. He is the author of critical studies on Joseph Losey and Karel Reisz.

Klappentext

An expressive dialogue between Deleuze's philosophical writings on cinema and Beckett's innovative film and television work, the book explores the relationship between the birth of the event itself a simultaneous invention and erasure - and Beckett's attempts to create an incommensurable space within the interstices of language as a (W)hole.

Inhalt
Acknowledgements List of Plates List of Figures Introduction: Intuition/Image/Event: 'Beckett's Peephole' as Audio-Visual Rhizome Thinking the Unthinkable: Time, Cinema and the Incommensurable Beyond Percept and Affect: Beckett's Film (1964) and Non-Human Becoming From 'Dialoghorrhea' to Mental-Image: Comédie (1966), Not I (1977) & What Where (1986) Matter and Memory: The Image as Impersonal Process in Eh Joe (1966), Ghost Trio (1977), and but the clouds' (1977) How to Build a Desiring Machine: Quadrat I + II (1981) Video-body, Video-brain: Nacht und Träume (1983) as Tele-Visual Event Conclusion: The Incommensurable Unnameable: Beckett, Deleuze and the Birth of the Event Bibliography Notes Index