By Tomas Schuman (Yuri Bezmenov)
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Extra info for Love Letter To America
Such is the constitutive aporia of time, which assumes and removes the present in an incessant short circuit, where the instant slips away by advancing backward. 2. A second conclusion extends the preceding one. The attraction of the outside, even withdrawn into the visibility that comes from a relationship to the inside, is not limited to the modern cinema inventoried by Deleuze in 1985. The attraction of the outside operates on the whole of the Deleuzian apparatus, which situates, as we know, the paradox of movement—both visible and nonvisible, continuous and continually discontinuous—as the very principle of cinematographic Image or Time?
19 ask if this contretemps is not already at work in the whole of the timeimage, a question that we will examine by tracing the genesis of this notion back through the book that bears its name. Reverse Shot: Blanchot–Deleuze–Foucault Before broaching this new step in my analysis of The Time-Image, I would like to pinpoint the diversion that Deleuze works on Blanchot. Blanchot–Deleuze It is clear by now that Deleuze’s use of Blanchot is hardly Blanchotian. In The Space of Literature, as in The Infinite Conversation, the outside is never formulated as a “thought,” but rather, as an “attraction” [attrait] that is also a “passion,” that is, the force of an attraction whose particularity is due to the fact that it strips the subject of all reference to being.
No, I don’t know at all. These are the first spoken phrases “drawn from the film,” which will repeat in another way at the end: OK, now we have a project, and it recounts something about history. And this something is one of those moments. 26 marie-claire ropars-wuilleumier And then, the first moment . . You remember the names Perhaps One didn’t say them, etc. The text begins with forgetting and ends with the project. 40 In Praise of Love figures the emblem of a desired time as the fault in being.