Deleuze and the work of death: a study from the impulse-images
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Institucional da UFRGS |
Texto Completo: | http://hdl.handle.net/10183/257203 |
Resumo: | When formulating the concept of the impulse-image, Deleuze never tires of asserting that these images are saturated with death and obsessed by degradation. They stand at a curious intersection in the taxonomy of images, a constitutively in-between space: they are formally inserted between affection-image and action-image in The Movement-Image, but produce a direct passage to the time-image. However, they do not reach the time-image due to obsession by the negative effects of time. This article introduces the concept of the impulse-image in Deleuze’s work on the impulse and death instinct, in his fundamental texts of the 1960s and 1970s, including his collaboration with Félix Guattari. The death instinct in the late 1960s was a transcendental principle that acquired the form of the groundless or crack-up essential for the production of difference. It is at this time that Deleuze publishes Zola and the Crack-up, an embryonic essay for what would later become the impulse-image. In the 1970s, Deleuze, along with Guattari, fought the need to include a groundless force in the mould of the death instinct. Speaking of cinema in the 1980s, which is when he returns to the impulse theme, one finds characteristics of both preceding periods, especially the structure conceived in the 1960s (the incidence of the groundless as a transcendental force of disarticulation), associated with the criticism of the 1970s (a need to overcome the song of death to reach time and desire). However, Deleuze now stands apart, recognising a naturalistic image and admiring a practice of symptomatology, but pointing out that his own understanding of the world does not lie in it. With the impulse- images, Deleuze also plays a relevant role in studies of film naturalism,shaping a powerful concept for studies of contemporary naturalistic symptomatologies that emerge in situations of misery of civilisation. |
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Leites, Bruno Bueno Pinto2023-04-19T03:25:03Z20201755-1684http://hdl.handle.net/10183/257203001117127When formulating the concept of the impulse-image, Deleuze never tires of asserting that these images are saturated with death and obsessed by degradation. They stand at a curious intersection in the taxonomy of images, a constitutively in-between space: they are formally inserted between affection-image and action-image in The Movement-Image, but produce a direct passage to the time-image. However, they do not reach the time-image due to obsession by the negative effects of time. This article introduces the concept of the impulse-image in Deleuze’s work on the impulse and death instinct, in his fundamental texts of the 1960s and 1970s, including his collaboration with Félix Guattari. The death instinct in the late 1960s was a transcendental principle that acquired the form of the groundless or crack-up essential for the production of difference. It is at this time that Deleuze publishes Zola and the Crack-up, an embryonic essay for what would later become the impulse-image. In the 1970s, Deleuze, along with Guattari, fought the need to include a groundless force in the mould of the death instinct. Speaking of cinema in the 1980s, which is when he returns to the impulse theme, one finds characteristics of both preceding periods, especially the structure conceived in the 1960s (the incidence of the groundless as a transcendental force of disarticulation), associated with the criticism of the 1970s (a need to overcome the song of death to reach time and desire). However, Deleuze now stands apart, recognising a naturalistic image and admiring a practice of symptomatology, but pointing out that his own understanding of the world does not lie in it. With the impulse- images, Deleuze also plays a relevant role in studies of film naturalism,shaping a powerful concept for studies of contemporary naturalistic symptomatologies that emerge in situations of misery of civilisation.application/pdfengDeleuze and Guattari Studies. Edimburgo: Edinburgh University Press. Vol. 14, n. 2 (may 2020), p. 229-254Cinema brasileiroDeleuze, Gilles, 1925-1995 : Crítica e interpretaçãoNaturalismoDeleuzeImpulse-imageNaturalismDeath instinctSymptomBrazilian cinemaDeleuze and the work of death: a study from the impulse-imagesEstrangeiroinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFRGSinstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSTEXT001117127.pdf.txt001117127.pdf.txtExtracted Texttext/plain74490http://www.lume.ufrgs.br/bitstream/10183/257203/2/001117127.pdf.txtbbd7fc83725169be95a1444cab3bab2fMD52ORIGINAL001117127.pdfTexto completo (inglês)application/pdf178510http://www.lume.ufrgs.br/bitstream/10183/257203/1/001117127.pdf3c37d5e5ed75a5653a840e34fe10293cMD5110183/2572032023-04-21 03:23:37.248808oai:www.lume.ufrgs.br:10183/257203Repositório de PublicaçõesPUBhttps://lume.ufrgs.br/oai/requestopendoar:2023-04-21T06:23:37Repositório Institucional da UFRGS - Universidade Federal do Rio Grande do Sul (UFRGS)false |
dc.title.pt_BR.fl_str_mv |
Deleuze and the work of death: a study from the impulse-images |
title |
Deleuze and the work of death: a study from the impulse-images |
spellingShingle |
Deleuze and the work of death: a study from the impulse-images Leites, Bruno Bueno Pinto Cinema brasileiro Deleuze, Gilles, 1925-1995 : Crítica e interpretação Naturalismo Deleuze Impulse-image Naturalism Death instinct Symptom Brazilian cinema |
title_short |
Deleuze and the work of death: a study from the impulse-images |
title_full |
Deleuze and the work of death: a study from the impulse-images |
title_fullStr |
Deleuze and the work of death: a study from the impulse-images |
title_full_unstemmed |
Deleuze and the work of death: a study from the impulse-images |
title_sort |
Deleuze and the work of death: a study from the impulse-images |
author |
Leites, Bruno Bueno Pinto |
author_facet |
Leites, Bruno Bueno Pinto |
author_role |
author |
dc.contributor.author.fl_str_mv |
Leites, Bruno Bueno Pinto |
dc.subject.por.fl_str_mv |
Cinema brasileiro Deleuze, Gilles, 1925-1995 : Crítica e interpretação Naturalismo |
topic |
Cinema brasileiro Deleuze, Gilles, 1925-1995 : Crítica e interpretação Naturalismo Deleuze Impulse-image Naturalism Death instinct Symptom Brazilian cinema |
dc.subject.eng.fl_str_mv |
Deleuze Impulse-image Naturalism Death instinct Symptom Brazilian cinema |
description |
When formulating the concept of the impulse-image, Deleuze never tires of asserting that these images are saturated with death and obsessed by degradation. They stand at a curious intersection in the taxonomy of images, a constitutively in-between space: they are formally inserted between affection-image and action-image in The Movement-Image, but produce a direct passage to the time-image. However, they do not reach the time-image due to obsession by the negative effects of time. This article introduces the concept of the impulse-image in Deleuze’s work on the impulse and death instinct, in his fundamental texts of the 1960s and 1970s, including his collaboration with Félix Guattari. The death instinct in the late 1960s was a transcendental principle that acquired the form of the groundless or crack-up essential for the production of difference. It is at this time that Deleuze publishes Zola and the Crack-up, an embryonic essay for what would later become the impulse-image. In the 1970s, Deleuze, along with Guattari, fought the need to include a groundless force in the mould of the death instinct. Speaking of cinema in the 1980s, which is when he returns to the impulse theme, one finds characteristics of both preceding periods, especially the structure conceived in the 1960s (the incidence of the groundless as a transcendental force of disarticulation), associated with the criticism of the 1970s (a need to overcome the song of death to reach time and desire). However, Deleuze now stands apart, recognising a naturalistic image and admiring a practice of symptomatology, but pointing out that his own understanding of the world does not lie in it. With the impulse- images, Deleuze also plays a relevant role in studies of film naturalism,shaping a powerful concept for studies of contemporary naturalistic symptomatologies that emerge in situations of misery of civilisation. |
publishDate |
2020 |
dc.date.issued.fl_str_mv |
2020 |
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2023-04-19T03:25:03Z |
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001117127 |
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http://hdl.handle.net/10183/257203 |
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eng |
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eng |
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Deleuze and Guattari Studies. Edimburgo: Edinburgh University Press. Vol. 14, n. 2 (may 2020), p. 229-254 |
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