Acknowledgements Introduction 1. The Cinematic Apparatus and the Transcendental Subject 2. Re-thinking Representation: New Lines of Thought in Feminist Philosophy 3. Cinematic Assemblages: An Ethological Approach to Film-viewing 4. The Slasher Film: A Deleuzian Feminist Analysis 5. The Alien Series: Alien-Becomings, Human-Becomings 6. The Molecular Poetics of the Assemblage: Before Night Falls Conclusion: A Feminist Cinematic Assemblage Notes Bibliography Index
A feminist introduction to Deleuze's work on cinema that proposes a new way of thinking about the cinematic viewing experience
Teresa Rizzo is currently lecturer in film studies at the University of New South Wales,where she also gained her PhD. She has previously taught as Lecturer in Screen Studies at the Australian Film, Television and Radio School.
A highly readable feminist introduction to Deleuze's Cinema volumes
by foregrounding the bodily and affective nature of the cinematic
viewing experience ... Rizzo's book is undoubtedly a valuable
contribution to both Deleuze and feminist film studies
*Film Criticism*
[An] accessible and interesting book ... [Deleuze and Film]
provides a compelling method for identifying films that challenge
static gender categories. As such, the book will doubtless be a
useful tool for feminist researchers wanting to pursue questions of
spectatorship
*New Review of Film and Television Studies*
‘Both an accessible introduction to Deleuze's cinema philosophy and
a major advance in feminist film theory, this is a tour de force of
lucid and creative thought. Rizzo's focus on the body of the viewer
provides a provocative reconfiguration of Deleuze's cinematic
taxonomy while opening lines of inquiry beyond the psychoanalytic
models and theories of spectatorship currently dominant in film
theory. An essential contribution to the field.'
*Ronald Bogue, Distinguished Research Professor at University of
Georgia, USA and author of Deleuze on Cinema (Routledge)*
‘In Deleuze and Film: A Feminist IntroductionTeresa Rizzo presents
us with a ‘third Deleuze', that is a Deleuze who is a cineaste and
a feminist. In this way we are given not only a new and rich
introduction to Deleuze's thinking and writing on film, but also a
provocative rethinking of his work from the perspectives of gender
and film-making. This is an important intervention into the growing
body of work on the intersection between Deleuze and cinema.'
*Ian Buchanan, Editor of Deleuze Studies*
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