The Wounds of Indetermination: Deleuze, Cinema and Ethology

Cullen, Jason (2013). The Wounds of Indetermination: Deleuze, Cinema and Ethology PhD Thesis, School of History, Philosophy, Religion & Classics, The University of Queensland.

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Author Cullen, Jason
Thesis Title The Wounds of Indetermination: Deleuze, Cinema and Ethology
Formatted title
The Wounds of Indetermination: Deleuze, Cinema and Ethology
School, Centre or Institute School of History, Philosophy, Religion & Classics
Institution The University of Queensland
Publication date 2013
Thesis type PhD Thesis
Open Access Status Other
Supervisor Aurelia Armstrong
Greg Hainge
Total pages 167
Total black and white pages 167
Language eng
Subjects 2203 Philosophy
Formatted abstract
This thesis examines the ethical and ontological significance of Gilles Deleuze’s Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Recent scholarship tends to read these texts for their contributions to film and media studies. This work develops a different focus by seeking to integrate Deleuze’s encounter with cinema into his philosophical project as a whole. I argue that the philosophical significance of the two volumes of Cinema comes into view when these texts are situated at the intersection of the interconnected themes of ethics and ontology in Deleuze’s thought. To demonstrate this unique contribution, I develop a reading of Deleuze’s project which focuses on the importance of his critical engagement with Spinoza and Bergson to his own ethics and ontology. Deleuze’s engagement with Spinoza may be fruitfully understood as the formulation of a problem that emerges at the point of convergence between ethics and ontology, a problem that Deleuze calls ethology. Through this concept, Deleuze argues that the characterisation and evaluation of the modes of an individual’s life can only be done from the point of view of a pure ontology. It is in the shadow of this question that Deleuze reworks the Spinozist concern with the ratio of active to passive affections and affects in an effort to find an ontologically robust and ethically sensitive way to consider the fluctuations and modifications to this ratio in the renewal of our understanding and unconscious processes of sense making. By bringing together the concept of the wound formulated in his work of the 1960s and the concept of the sensory-motor schema and its collapse articulated in the two volumes of Cinema, I argue that Deleuze suggests that an individual’s experience of her wounds and scars makes possible an increase in her active affections by confronting her with a renewed idea of her relational embeddedness.
Keyword Deleuze, Gilles, 1925-1995.
Power (Philosophy)

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Created: Fri, 07 Feb 2014, 17:08:55 EST by Jason Cullen on behalf of Scholarly Communication and Digitisation Service