The Desiring-Image
Gilles Deleuze and Contemporary Queer Cinema
Published on 18. July 2013
Book
Hardback
332 pages
978-0-19-999315-4 (ISBN)
Description
The Desiring-Image yields new models of queer cinema produced since the late 1980s, based on close formal analysis of diverse films as well as innovative contributions to current film theory. The book defines "queer cinema" less as a specific genre or in terms of gay and lesbian identity, but more broadly as a kind of filmmaking that conveys sexual desire and orientation as potentially fluid within any individual's experience, and as forces that can therefore unite unlikely groups of people along new lines, socially, sexually, or politically. The films driving this analysis range from celebrated fixtures of the New Queer Cinema of the 1990s (including Cheryl Dunye's The Watermelon Woman and Todd Haynes's Velvet Goldmine) to sexually provocative films of the same era that are rarely classified as queer (David Cronenberg's Dead Ringers and Naked Lunch) to breakout films by 21st-century directors (Rodney Evans's Brother to Brother, John Cameron Mitchell's Shortbus). To frame these readings and to avoid heterosexist assumptions in other forms of film analysis, The Desiring-Image revisits the work of the philosopher Gilles Deleuze, whose two major works on cinema somehow never address the radical ideas about desire he expresses in other texts. This book brings those notions together in innovative ways, making them clear and accessible to newcomers and field specialists alike, with clear, illustrated examples drawn from a wide range of movies extending beyond the central case studies. Thus, The Desiring-Image speaks to readers interested in queer and gay/lesbian studies, in film theory, in feminist and sexuality scholarship, and in theory and philosophy, putting those discourses into rich, surprising conversations with popular cinema of the last 30 years.
Reviews / Votes
The Desiring-Image is high concept: it adds a third term to 'movement-image' and 'time-image,' extending Deleuze's inquiry into present-day world cinema and making his pair of cinema books a trilogy. It is also high theory. Yet Davis's book is also concrete and accessible, explaining and synthesizing Deleuzian terminology and illuminating key works of New Queer Cinema in ways that renew their promise for critical inquiry, pedagogy, and film culture. The clarity of Davis's prose does not diminish the text's rhetorical performance, which is sustained and often dazzling. * Patricia White, author of Uninvited: Classical Hollywood Cinema and Lesbian Representability * This is important and needed work. Davis' deeply original move is to fold Deleuze's film concepts into the Anti-Oedipus and to remap them, and in so doing to produce a distinctly original perspective for assessing and revaluing the films that inspire him. The Desiring-Image has renewed and extended Deleuze's concepts in ways that will encourage the formation of new perspectives and forms of analysis for cinema, queer or otherwise. * D.N. Rodowick, author of The Virtual Life of Film * The Desiring-Image brings an exciting new perspective on film and desire. Impressive, at times startling in its groundbreaking originality, The Desiring-Image will stimulate anyone interested in how cinema produces the desire which shapes the worlds we inhabit. * David Martin-Jones, author of Deleuze and World Cinemas * At its best, Nick Davis' The Desiring-Image thinks through Deleuze to explode our conception of the queer cinema canon, to challenge our understanding of homoeroticism, and to consider the ways queer cinema imagined itself in retrospect. This is an exhaustive yet lovingly written perverse intervention into film theory. * Lucas Hilderbrand, author of Inherent Vice: Bootleg Histories of Videotape and Copyright * Seductive in its intellect and humbling in its prose, The Desiring-Image marks an important new entry into queer film studies and film theory more broadly. Queering Deleuze and 'deleuzing' queer film, Nick Davis' 'deterritorializing' treatise revives the radicalism and hope of both new queer cinema and the scholarship surrounding it. * Michele Aaron, editor of New Queer Cinema: A Critical Reader *More details
Language
English
Place of publication
New York
United States
Target group
College/higher education
Professional and scholarly
Illustrations
15 halftones
Dimensions
Height: 240 mm
Width: 161 mm
Thickness: 22 mm
Weight
661 gr
ISBN-13
978-0-19-999315-4 (9780199993154)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Book
07/2013
Oxford University Press Inc
€63.50
Shipment within 15-20 days
E-Book
06/2013
1st Edition
OUP eBook
€21.99
Available for download
E-Book
06/2013
1st Edition
OUP eBook
€27.49
Available for download
Person
Nick Davis is Assistant Professor of English and Gender & Sexuality Studies at Northwestern University.
Content
TABLE OF CONTENTS ; Acknowledgments ; List of Abbreviations ; Introduction ; The Triple Womb ; Queering the Cinema Books ; New Queer Is... New Queer Ain't ; Seven Pillars of Schizo Homo Pomo ; A Word on Orientation, or Around 1991 ; Preview of Coming Attractions ; Chapter 1: "Beyond Gay": Dead Ringers and Queer Perceptions ; "We're Just Not Sure What Kind It Is" ; Dissenting from "A Dissenting View" ; Mutant Textuality ; Perceptions of Perception: Movement, Time, Subtraction ; Perceptions and Desire: Types of Flows ; Out-of-Fields and the Desiring-Image ; The Desiring-Images of Dead Ringers ; First Out-of-Field: The Mantles vs. the World ; Second Out-of-Field: The Love that Keeps Almost Speaking Its Name ; Third Out-of-Field: The Triple-Womb and the "Either... Or... Or..." ; Fourth Out-of-Field: Impulse and Immanence ; The Desiring-Image as Relation-Image ; Chapter 2: Hard Bodies and Sex Blobs: Deterritorializing Desire in Naked Lunch ; and Shortbus ; Innaresting Sex Arrangements ; Peaks, Sheets, and Series ; "Everything Is Permitted": Incompossibilities of Desire ; Schizos and Counterpublics ; If on a Summer's Night a Sex-Blob ; Sounds, Stutters, and Scatterplots ; A Kafka High, or a New Low?: Quandaries of the Minor ; Shortbus: The Queer Politics of "Actual" Sex ; Does This Bus Only Make One Stop? ; Chapter 3: "Something in Her Face": Queering the Affection-Image in ; The Watermelon Woman ; Who Is She, and What Is She to You? ; The Riddle of the Lesbian Affection-Image ; Like Clockwork, or How to Make a Face ; Facing Elsie, and the Mystery of the Other Person ; Black Lesbians and Their Others ; Peaks of Present, or What Ever Happened to Lesbian Community? ; Sheets of Past and Centers of Indetermination ; A Singular Face, Implying Multitudes ; Deflective Unities and Oracular Chores ; Faces in the Crowd ; Facing Forward ; Chapter 4: Brother to Brother and Adventures in Queer Crystallography ; Queer Crystallography ; Crystals, Then and Now ; The Four Types ; Looking for Bruce / Looking for Perry ; Through a Crystal-Image, Darkly ; What's Sex Got to Do with It? ; Chapter 5: Crystal-Queer Economies: Beau travail ; What's Money Got to Do with It? ; The Oyster and the Book in Blood ; The Broken Compass and the Three Economies ; Beau travail, or the Ambiguities ; Compound Crystals ; Bachelors and Belles transitions ; Chapter 6: Theses on a Philosophy of Queer History: Velvet Goldmine ; Changing the World / Changing Ourselves ; Angels, Aliens, and Orphans ; Point A to Point B ; Wild Cards and Unexpected Critiques ; Toward Productive Ends ; The Minors and the Miners ; Conclusion ; The Pin and the Pearl ; Glossary ; Works Cited