Cinema 2: The Time-Image brings to completion Gilles Deleuze's work on the theoretical implications of the cinematographic image. In Cinema 1: The Movement-Image, Deleuze proposed a new way to understand narrative cinema, based on Henri Bergson's notion of the movement-image and C. S. Peirce's classification of images and signs. In Cinema 2, he explains why, since World War II,...(展开全部)

吉尔・德勒兹 ，1925年1月18日生于法国巴黎，1944年中学毕业后就读于巴黎索邦大学哲学系，1952年发表处女作《休谟及其生活、著作和哲学》，1957年任索邦大学哲学史助教，1960年任法国国家科学研究中心研究专员，1964-1969年任里昂学院哲学教师，1969年接替米歇尔・福柯，任巴黎第八大学哲学教授至1987年退休。 1995年11月4日，德勒兹因难忍肺疾折磨，从巴黎住处的窗户坠楼自杀。

吉尔・德勒兹 ，1925年1月18日生于法国巴黎，1944年中学毕业后就读于巴黎索邦大学哲学系，1952年发表处女作《休谟及其生活、著作和哲学》，1957年任索邦大学哲学史助教，1960年任法国国家科学研究中心研究专员，1964-1969年任里昂学院哲学教师，1969年接替米歇尔・福柯，任巴黎第八大学哲学教授至1987年退休。 1995年11月4日，德勒兹因难忍肺疾折磨，从巴黎住处的窗户坠楼自杀。

Cinema 2: The Time-Image brings to completion Gilles Deleuze's work on the theoretical implications of the cinematographic image. In Cinema 1: The Movement-Image, Deleuze proposed a new way to understand narrative cinema, based on Henri Bergson's notion of the movement-image and C. S. Peirce's classification of images and signs. In Cinema 2, he explains why, since World War II,...(展开全部)

吉尔·德勒兹，法国后现代主义哲学家，生于巴黎，曾任教于索邦大学及梵森大学。思想影响后世甚广，范围包括哲学、政治、心理分析及哲学等。著有《差异与重复》、《什么是哲学》和《千重台》等书。

First published in France in 1983, this is at once a revolutionary work in philosophy and a book about cinema. For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts-or images-of film. Cinema, to De...(展开全部)

吉尔·德勒兹，法国后现代主义哲学家，生于巴黎，曾任教于索邦大学及梵森大学。思想影响后世甚广，范围包括哲学、政治、心理分析及哲学等。著有《差异与重复》、《什么是哲学》和《千重台》等书。

First published in France in 1983, this is at once a revolutionary work in philosophy and a book about cinema. For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts-or images-of film. Cinema, to De...(展开全部)

Visual Time offers a rare consideration of the idea of time in art history. Non-Western art histories currently have an unprecedented prominence in the discipline. To what extent are their artistic narratives commensurate with those told about Western art? Does time run at the same speed in all places? Keith Moxey argues that the discipline of art history has been too attached ...(展开全部)

Keith Moxey is Barbara Novak Professor of Art History at Barnard College and Columbia University. He is the author of many books, including The Practice of Persuasion: Paradox and Power in Art History; The Practice of Theory: Poststructuralism, Cultural Politics, and Art History; and Peasants, Warriors, and Wives: Popular Imagery in the Reformation.