| Abstract [eng] |
This paper explores a new trend in the contemporary philosophy of cinema - politicization of Gilles Deleuze’s film concepts - time-image and movement image. This kind of approach usually stands on a non-reflected assumption on two or more confronting different political identities and the political knowledge proceeding from it. This paper argues that this confrontation requires explicit argumentation and descriptive analysis of how such knowledge is produced. This approach allows for a possibility of a new - hybrid-image which is relevant in defending Deleuze’s political philosophy from the critique formulated by A. Badiou, S. Žižek and P. Hallward. In this thesis I rely on the concept of minor cinema, proposed by D.N. Rodowick which names the modern political cinema analyzed by Deleuze. I argue that while not showing clearly how the powers of the false coming from time-image and political knowledge can be combined in these new hybrid-images, Badiou’s, Žižek’s and Hallward’s critical arguments are valid or this kind of attempts to politicize time-image contradicts with the political philosophy proposed by Deleuze. The first part of the thesis is argued by analysing contemporary research based on politicizing the time-image and by reconstructing the main arguments proposed by Deleuze’s adversaries. The second part is argued by combining the time-image and the movement-image and proposing a new type of time-image - kairos-image. Finally I show how kairos-image functions in the cinema of soviet Lithuania while at the same time negating the now popular arguments of the non-existent political resistance in the art of soviet lithuanian artists. Keywords: Gilles Deleuze, time-image, movement-image, minor cinema, soviet lithuanian cinema. |
