Tempo (des)encadeado : Deleuze e a montagem cinematográfica

Abstract

Starting from the two Gilles Deleuze books about cinema, this work aims to understand the unfolding of temporal relations in the film productions. The emergence, development, consolidation, crisis, and decline of the technique of film editing is at the core of the analysis. A pragmatic reading of Deleuze’s work is proposed, thus moving away from the metaphysical interpretations attributed to his philosophy. As a consequence, the philosophy of difference is understood as a method of immanent analysis that takes its objects of study from the standpoint of their differentiation. This method of analysis allows us to approach historical phenomena in a non-linear or non-chronological way, thus unveiling a logic of differential relationships that often escape of the analyzes based on historicist bases, especially those that are methodologically linked to Hegelian dialectics. In conclusion, we hypothesize that this kind of immanent analysis could serve as a propaedeutic for an immanent critique of aesthetic phenomena, especially those that permeate the field of cultural industry, indicating the paths of a possible dialogue between Deleuze's and Adorno’s aesthetics.