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Beckett, Deleuze and the televisual ...

Beckett, Samuel, (1906-1989)

Beckett, Deleuze and the televisual eventpeephole art /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Beckett, Deleuze and the televisual eventColin Gardner.
其他題名:	peephole art /
作者:	Gardner, Colin.
出版者:	Basingstoke :Palgrave Macmillan,2012.
面頁冊數:	1 online resource.
標題:	Television adaptationsHistory and criticism.
電子資源:	http://www.palgraveconnect.com/doifinder/10.1057/9781137014368
ISBN:	9781137014368 (electronic bk.)

Beckett, Deleuze and the televisual eventpeephole art /
Gardner, Colin.

Beckett, Deleuze and the televisual eventpeephole art /[electronic resource] :Colin Gardner. - Basingstoke :Palgrave Macmillan,2012. - 1 online resource.

Includes bibliographical references and index.

Introduction: Intuition/Image/Event: 'Beckett's Peephole' as Audio-Visual Rhizome -- Thinking the Unthinkable: Time, Cinema and the Incommensurable -- Beyond Percept and Affect: Beckett's Film (1964) and Non-Human Becoming -- From 'Dialoghorrhea' to Mental-Image: Comedie (1966), Not I (1977) & What Where (1986) -- Matter and Memory: The Image as Impersonal Process in Eh Joe (1966), Ghost Trio (1977), and 'but the clouds' (1977) -- How to Build a Desiring Machine: Quadrat I + II (1981) -- Video-body, Video-brain: Nacht und T�rume (1983) as Tele-Visual Event -- Conclusion: The Incommensurable Unnameable: Beckett, Deleuze and the Birth of the Event.

An expressive dialogue between Gilles Deleuze's philosophical writings on cinema and Samuel Beckett's innovative film and television work, the book explores the relationship between the birth of the event -- itself a simultaneous invention and erasure - and Beckett's attempts to create an unrepresentable space within the interstices of language as a (W)hole. While focusing specifically on Film (1964), the television adaptations of dramatic works such as Play, Not I and What Where, as well as the made-for-TV productions of Eh Joe, 'but the clouds', Ghost Trio, Quad I & II and Nacht und T�rume, this book is more than an exploration of Beckett's TV work through a specific Deleuzean filter. More importantly, it is also an opportunity to re-examine Deleuze's Cinema 1 and 2 -- specifically the affect- and time-images -- through Beckett's specific audio-visual 'peephole.' Given Beckett's obvious compatibility with Kafka and minor literature, this study contextualizes his television work in relation to Deleuze's writings on cinema as a whole, and by extension, the ontology and semiotics of film and televisual language.

ISBN: 9781137014368 (electronic bk.)

Source: 580270Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Personal Names:

442589
Beckett, Samuel,
1906-1989--Philosophy.Subjects--Topical Terms:

584739
Television adaptations
--History and criticism.Index Terms--Genre/Form:

214472
Electronic books.

LC Class. No.: PR6003.E282 / G37 2012

Dewey Class. No.: 848/.91409

Beckett, Deleuze and the televisual eventpeephole art /
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505 0 $a Introduction: Intuition/Image/Event: 'Beckett's Peephole' as Audio-Visual Rhizome -- Thinking the Unthinkable: Time, Cinema and the Incommensurable -- Beyond Percept and Affect: Beckett's Film (1964) and Non-Human Becoming -- From 'Dialoghorrhea' to Mental-Image: Comedie (1966), Not I (1977) & What Where (1986) -- Matter and Memory: The Image as Impersonal Process in Eh Joe (1966), Ghost Trio (1977), and 'but the clouds' (1977) -- How to Build a Desiring Machine: Quadrat I + II (1981) -- Video-body, Video-brain: Nacht und T�rume (1983) as Tele-Visual Event -- Conclusion: The Incommensurable Unnameable: Beckett, Deleuze and the Birth of the Event.
520 $a An expressive dialogue between Gilles Deleuze's philosophical writings on cinema and Samuel Beckett's innovative film and television work, the book explores the relationship between the birth of the event -- itself a simultaneous invention and erasure - and Beckett's attempts to create an unrepresentable space within the interstices of language as a (W)hole. While focusing specifically on Film (1964), the television adaptations of dramatic works such as Play, Not I and What Where, as well as the made-for-TV productions of Eh Joe, 'but the clouds', Ghost Trio, Quad I & II and Nacht und T�rume, this book is more than an exploration of Beckett's TV work through a specific Deleuzean filter. More importantly, it is also an opportunity to re-examine Deleuze's Cinema 1 and 2 -- specifically the affect- and time-images -- through Beckett's specific audio-visual 'peephole.' Given Beckett's obvious compatibility with Kafka and minor literature, this study contextualizes his television work in relation to Deleuze's writings on cinema as a whole, and by extension, the ontology and semiotics of film and televisual language.
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