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3rdness: Filming, Changing, Thinking Hong Kong

3rdness: Filming, Changing, Thinking Hong Kong positions 9:3 © 2001 by Duke University Press positions 9:3 Winter 2001 of thinking, through cinema; new possibilities of thinking through cinema). To him, “the task of philosophy when it creates concepts, entities, is always to extract an event from things and beings, to set up the new event from things and beings, always to give them a new event: space, time, matter, thought, the possible as events.”4 In this sense his cinema project is not simplistically an endeavor to construct a philosophy of cinema in place of existent histories of cinema in order to “extract an event from things and beings.” It is a project aiming at actualizing “the task of philosophy” by way of the medium: cinema. Such actualization in turn entails a reconfiguration of “the task of philosophy” in light of the appearances of “new events” in this specific medium. In Cinema 1 and Cinema 2 Deleuze, on one hand, recategorizes issues of history, geography, and representation through his neologisms and, on the other hand, operates within conventional problematics, such as nationality, authorship, genres, canons, and stylistics. Through these problematics, accepted definitions and relationships are at the same time reconfigured and interrogated. Deleuze’s cinema project http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png positions asia critique Duke University Press

3rdness: Filming, Changing, Thinking Hong Kong

positions asia critique , Volume 9 (3) – Dec 1, 2001

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Publisher
Duke University Press
Copyright
Copyright 2001 by Duke University Press
ISSN
1067-9847
eISSN
1527-8271
DOI
10.1215/10679847-9-3-535
Publisher site
See Article on Publisher Site

Abstract

positions 9:3 © 2001 by Duke University Press positions 9:3 Winter 2001 of thinking, through cinema; new possibilities of thinking through cinema). To him, “the task of philosophy when it creates concepts, entities, is always to extract an event from things and beings, to set up the new event from things and beings, always to give them a new event: space, time, matter, thought, the possible as events.”4 In this sense his cinema project is not simplistically an endeavor to construct a philosophy of cinema in place of existent histories of cinema in order to “extract an event from things and beings.” It is a project aiming at actualizing “the task of philosophy” by way of the medium: cinema. Such actualization in turn entails a reconfiguration of “the task of philosophy” in light of the appearances of “new events” in this specific medium. In Cinema 1 and Cinema 2 Deleuze, on one hand, recategorizes issues of history, geography, and representation through his neologisms and, on the other hand, operates within conventional problematics, such as nationality, authorship, genres, canons, and stylistics. Through these problematics, accepted definitions and relationships are at the same time reconfigured and interrogated. Deleuze’s cinema project

Journal

positions asia critiqueDuke University Press

Published: Dec 1, 2001

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