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Beckett's Film, “which could only have been played by Buster Keaton”

Beckett's Film, “which could only have been played by Buster Keaton” AbstractThis article uses Deleuze's three-part theory of the movement-image as a way to investigate the potential importance of his unexplored claim about the casting of Beckett's Film. In “The Greatest Irish Film” Deleuze writes that the starring role in Film “could only have been played by Buster Keaton” (in Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco (Minneapolis: U of Minnesota P, 1997) 23), but he does not explain why. Here, I return to the Bergsonian basis of Deleuze's film theory, as well as to early responses to Beckett's Film, in order to complicate our understanding of Deleuze's perception-image, action-image, and especially his affection-image. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Angelaki: Journal of Theoretical Humanities Taylor & Francis

Beckett's Film, “which could only have been played by Buster Keaton”

Ardoin, Paul
Angelaki: Journal of Theoretical Humanities , Volume 20 (4): 17 – Oct 2, 2015
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Beckett's Film, “which could only have been played by Buster Keaton”

Abstract

AbstractThis article uses Deleuze's three-part theory of the movement-image as a way to investigate the potential importance of his unexplored claim about the casting of Beckett's Film. In “The Greatest Irish Film” Deleuze writes that the starring role in Film “could only have been played by Buster Keaton” (in Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco (Minneapolis: U of Minnesota P, 1997) 23), but he does not explain why. Here,...
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Publisher
Taylor & Francis
Copyright
© 2015 Taylor & Francis
ISSN
1469-2899
eISSN
0969-725X
DOI
10.1080/0969725X.2015.1096627
Publisher site
See Article on Publisher Site

Abstract

AbstractThis article uses Deleuze's three-part theory of the movement-image as a way to investigate the potential importance of his unexplored claim about the casting of Beckett's Film. In “The Greatest Irish Film” Deleuze writes that the starring role in Film “could only have been played by Buster Keaton” (in Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco (Minneapolis: U of Minnesota P, 1997) 23), but he does not explain why. Here, I return to the Bergsonian basis of Deleuze's film theory, as well as to early responses to Beckett's Film, in order to complicate our understanding of Deleuze's perception-image, action-image, and especially his affection-image.

Journal

Angelaki: Journal of Theoretical Humanities – Taylor & Francis

Published: Oct 2, 2015

Keywords: Samuel Beckett; Gilles Deleuze; Buster Keaton; affect; movement-image; reader response

References

  • What Is the Word
  • Movement! Action! Belief? Notes for a Critique of Deleuze's Cinema Philosophy
  • Performing in the Chaosmos: Farts, Follicles, Mathematics, and Delirium in Deleuze
  • The Thinking Eye in Beckett's Film
  • Brownlow on Beckett
  • ‘Film’ Directed by David Clark and Starring Max Wall
  • The Affection-Image and the Movement-Image
  • The Greatest Irish Film (Beckett's ‘Film’)
  • Samuel Beckett's Film on the Agony of Perceivedness
  • Losing Face
  • Beyond Percept and Affect: Beckett's Film and Non-human Becoming
  • Suspended Gestures: Schizoanalysis, Affect and the Face in Cinema
  • Beckett's ‘Film’ and Beckett and Film
  • On Directing Film
  • A Film of Few Words and One Keaton
  • Expression and Affect in Kleist, Beckett and Deleuze