CINEMA AS A PHILOSOPHICAL SPACE : GILES DELOUZE’S AUTHORIAL MODEL IN UKRAINIAN CULTURAL DISCOURSE

Abstract

It is emphasized that the material of the article is based on the monograph by G. Deleuze’s monograph «Cinema» (1985), which consists of two books and offers the reader a view of cinema from the perspective of the humanities, specifically philosophy, while focusing on the theoretical generalizations of Henri Bergson. Since the influence of Bergson’s ideas has been repeatedly discussed in French film studies, J. Deleuze conceptualizes the history and theory of cinema through the argument of «four comments on Bergson», which is clearly a factor of scientific novelty. It is noted that, limiting himself to relying on A. Bergson’s intuitionism and related issues that are derivatives in the process of revealing the potential of intuition, J. Deleuze achieved the integrity of his own concept, which is not fragmented either by numerous names of philosophers or by random related ideas. Focusing on various works by A. Bergson, which together formed the basis of his philosophical views, J. Deleuze reveals the creative work of those directors whose films have not yet been considered in the context of A. Bergson’s intuitionism.
It is highlighted that among the reasons for the rather broad interpretative presence of the monograph «Cinema» in Ukrainian cultural discourse, one should mention the meticulousness with which G. Deleuze reconstructs the history of cinema and his interest in both systematization and the further development of the conceptual and categorical apparatus that forms the basis of film theory.
The purpose of this article is to analyze and highlight the cornerstones of the author’s model of the history and theory of cinema, which was argued by J. Deleuze in his monograph Cinema: to identify conceptual ideas, outlining their perception and evaluation in the space of Ukrainian cultural discourse.
Research methodology. The article is based on a philosophical and analytical methodology that combines conceptual analysis and hermeneutic reading of texts by G. Deleuze and A. Bergson, as well as the use of elements of historical-theoretical, cultural, comparative, and interpretative approaches in the study of cinema as a philosophical space. Conclusions. It is argued that the material presented in the article, based on a number of the author’s fundamental propositions from J. Deleuze’s monograph Cinema, allowed him to combine his own views with the philosophical principles of A. Bergson’s intuitionism, a classic of European philosophy.
It is proven that J. Deleuze used the studies «Creative Evolution» and «Matter and Memory» as a theoretical basis for arguing new ideas in the field of film history and theory. This refers to Deleuze’s theses of «image-movement» and «image-time», the origins of which are consistent with the philosophical concept of «movement-time» argued by A. Bergson. Emphasis is placed on the notion of «non-chronological time», which exists in the space of «past-present».
J. Deleuze’s research approach, which combines theoretical analysis with the practice of cinema development, is positively evaluated. This approach actualizes both the problem of experience and reveals «blind spots» in J. Deleuze’s authorial concept that require further elaboration.
Novelty. The article provides a conceptual systematization of Deleuze’s theory of cinema through the prism of A. Bergson’s intuitionism, focusing on the argumentation of the «four comments on Bergson», which made it possible to rethink the history and theory of cinema in a new way, as well as to expand the Ukrainian cultural discourse by introducing a comprehensive author’s model of analysis of images of movement, time, and memory.
The practical significance of the research lies in the possibility of using its results in the educational process (cultural studies, film studies, philosophy of culture, aesthetics), in the development of special courses and lectures devoted to the philosophy of cinema, the theory of images of movement and time in the concept of J. Deleuze, as well as a methodological basis for further cultural and interdisciplinary studies of cinema in Ukrainian humanities discourse.