Deleuze's writings have been received as important antitheses to the structuralist and psychoanalytic approaches to film studies of the 1970s and 1980s, the kind of work made famous in Anglo-American film studies by this journal. At one level, Deleuze was felt to have introduced a perspective on film studies that was at odds with Screen Theory's insistence on the passivity of the cinema spectator, the latter being a notion indebted to theories of psychoanalysis and articulated in various ways by Christian Metz, Laura Mulvey, Stephen Heath, Peter Wollen, Colin MacCabe, Jean-Louis Baudry and others (and not just in Screen, but in also Film Quarterly, Afterimage and Camera Obscura). Rather than spectators passively deprived of their bodies and held in thrall to an ideological apparatus, Deleuze's writings gave rise to the possibility...

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