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Beckett, Deleuze and the televisual event : peephole art

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 Tr̃ume, 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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  • "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 Tr̃ume, 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."@en
  • "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 Tr̃ume, 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."
  • "An expressive dialogue between Deleuze's philosophical writings on cinema and 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 incommensurable space within the interstices of language as a (W)hole."
  • ""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 Träume, 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."--Publisher's website."@en

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  • "Online-Publikation"
  • "Criticism, interpretation, etc"@en
  • "Criticism, interpretation, etc"
  • "Electronic books"@en
  • "Electronic books"
  • "Television adaptations"@en

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  • "Beckett, Deleuze and the televisual event : peephole art"
  • "Beckett, Deleuze and the televisual event : peephole art"@en
  • "Beckett, Deleuze and the Televisual Event : Peephole Art"
  • "Beckett, Deleuze and the televisual event peephole art"
  • "Beckett, Deleuze and the televisual event peephole art"@en
  • "Beckett, Deleuze and the Televisual Event"

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