Abstract
Daniel Frampton’s work Filmosophy can be considered one of the most recent
analyses of Gilles Deleuze’s theories on cinema, especially in its relationship to
philosophy. But Frampton’s book is more than that. It goes beyond the French
philosopher in its argument that film, analogous to philosophy can be regarded not
simply as an art form but as thinking itself, a system of thoughts, ideas and
memories. He writes that ‘Cinema believes in its objects just as we have a belief
about our past. Film can thus possibly help us understand our own forms of
memory and recollection.’ (p. 19). That does not mean that film simply is like
thinking but rather that it is a form of thinking itself.
analyses of Gilles Deleuze’s theories on cinema, especially in its relationship to
philosophy. But Frampton’s book is more than that. It goes beyond the French
philosopher in its argument that film, analogous to philosophy can be regarded not
simply as an art form but as thinking itself, a system of thoughts, ideas and
memories. He writes that ‘Cinema believes in its objects just as we have a belief
about our past. Film can thus possibly help us understand our own forms of
memory and recollection.’ (p. 19). That does not mean that film simply is like
thinking but rather that it is a form of thinking itself.
| Original language | English |
|---|---|
| Pages (from-to) | 113-115 |
| Journal | Westminster Papers in Communication and Culture |
| Volume | 5 |
| Issue number | 3 |
| Publication status | Published - 2008 |
Keywords
- Film-Philosophy