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29 works: editions, guides, and research routes

Every work combines a version-specific cover and edition record with its core problem, contribution, and reading route. Each argument continues into the atlas through concepts, chapters, films, scenes, scholars, and primary materials.

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29work-by-work research guides
5with published Chinese editions
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Enter the questions and evidence, book by book

All 29 works include a verified cover and research guide. Search reaches authors, editions, concepts, films, and reading problems; every guide continues into the atlas evidence network.

29 works

L’Image-mouvement. Cinéma 1, 1983 French edition cover
1983 French edition coverVerify cover
01
Monograph

Cinéma 1: L’image-mouvement

Gilles Deleuze

NO OA FULL BOOK
Original edition

L’Image-mouvement. Cinéma 1

French · Les Éditions de Minuit · 1983

ISBN 9782707306593Verify edition
Published translations · 3
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How does cinema present movement directly? How does the interval introduced by a living centre differentiate one universe of images into perception, affection, and action?

Contribution

Deleuze joins Bergson's matter-image, formal analysis, and Peircean semiotics into a genetic taxonomy. Frame, shot, and montage organize changes in an open whole, while perception-, affection-, impulse-, action-, reflection-, and relation-images specify different functions of movement. Time appears mainly indirectly through movement and montage, and the final crisis of action already opens the passage to Cinema 2.

Reading route

Begin with Chapters 1–3 and secure the ontological line from movement to mobile section to open whole. Then follow the taxonomy through perception, affection, impulse, action, reflection, and relation. For each image type, diagram input, interval, and output in one concrete shot. Close-read Chapter 12, identify each symptom of the action-image's crisis, and only then move into Cinema 2.

The French original, standard English translation, and published Simplified and Traditional Chinese translations are verified.

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L’Image-temps. Cinéma 2, 1985 French edition cover
1985 French edition coverVerify cover
02
Monograph

Cinéma 2: L’image-temps

Gilles Deleuze

NO OA FULL BOOK
Original edition

L’Image-temps. Cinéma 2

French · Les Éditions de Minuit · 1985

ISBN 9782707310477Verify edition
Published translations · 3
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

When perception no longer extends naturally into effective action, how can cinema present time directly? How does time released from movement transform memory, truth, the body, thought, and audiovisual relations?

Contribution

Beginning with pure optical and sound situations, the book develops recollection and dream, the crystal-image, sheets of past and peaks of present, powers of the false, irrational cuts, cinemas of body and brain, and autonomous audiovisual structures. It reverses the relation between movement and time: forks, gaps, coexisting pasts, and incompossible presents organize the image directly, while movement becomes subordinate to time. Modern cinema thereby becomes a practice in which thought encounters its own powerlessness and renews belief in the world.

Reading route

Read the ten chapters in three blocks: Chapters 1–2 identify action's rupture and the new signs; Chapters 3–6 map recollection, crystals, past/present structures, and series of falsifiers; Chapters 7–10 track how cuts, bodily attitudes, sound, and readable images force thought. Test every concept against shot evidence; never substitute slowness, dreams, or nonlinearity for a time-image judgment.

Steven Shaviro's The Cinematic Body, 1993 University of Minnesota Press English edition cover
1993 English paperback coverVerify cover
03
Monograph

The Cinematic Body

Steven Shaviro

NO OA FULL BOOK
Original edition

The Cinematic Body

English · University of Minnesota Press · 1993

ISBN PB 9780816622948 · HB 9780816622931 · eBook 9780816685271 / 9781452902494Verify edition
Published translations · 1
Portuguese (Brazil)

O corpo cinemático

Trans. Anna Carolina Negrini Fagundes Martino · PAULUS · 2015

ISBN 9788534941365
↗
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

Is film viewing first an act of interpretation, or a direct incursion of images into eyes, nerves, muscles, and desire? Can movement, sound, and intensity alter the spectator before meaning is mastered?

Contribution

Shaviro releases the spectator from a position fully fixed by apparatus, ideology, or Lacanian lack and describes an unavoidable contact between image and body. Film becomes a material event that seduces and violates, imposes passivity, and produces desire. By joining Deleuzian image ontology to affect and postmodern culture, the book opened a major route toward studies of cinematic embodiment, politics of sensation, and intensity.

Reading route

Begin with the introduction and its direct dispute with psychoanalytic film theory, clarifying how Shaviro changes the premise of what a spectator is. Then record how each film governs viewing rhythm, produces disgust or pleasure, and compels the body to remain. Finally, read radical passivity alongside the atlas's body/brain, affect, and belief problems, testing how bodily shock transforms the viewing relation.

Paperback, hardcover, and two eBook ISBNs for the English original are verified; a published Portuguese translation appeared in 2015. No verifiable published full translation in Simplified or Traditional Chinese was located.

Publisher purchase / institutional subscription / library lendingResearch guide Legal access
Gilles Deleuze’s Time Machine by D. N. Rodowick, 1997 edition cover
1997 English edition coverVerify cover
04
Monograph

Gilles Deleuze’s Time Machine

D. N. Rodowick

NO OA FULL BOOK
Original edition

Gilles Deleuze’s Time Machine

English · Duke University Press · 1997

ISBN PB 9780822319702 · HB 9780822319627 · eBook 9780822396871Verify edition
Published translations · 1
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How do the two Cinema books construct a philosophical machine of time, signs, subjectivity, and truth from a vast archive of auteurs and films? What condition of thought changes in the passage from movement-image to time-image?

Contribution

Rodowick folds three decades of Deleuze's philosophy of time into the Cinema books' internal architecture. Commensurable intervals sustain action and the model of truth, whereas irrational cuts place incompatible images in direct contact; the subject emerges as delayed response within the matter-image universe and is then carried into coexisting pasts, forking presents, and series of falsifiers. Taxonomy becomes a genesis of how images produce thought.

Reading route

Read the preface and Chapter 1 first, diagramming the master contrast between commensurable interval and irrational cut. Chapters 2–4 trace the genesis of movement, subject, and sign; Chapters 5–7 treat time, truth, and thought; Chapter 8 gathers these into ethics and world. Keep the relevant Cinema 1 and Cinema 2 chapters open beside each section so Rodowick's reconstruction never substitutes for Deleuze's text.

The English original has paperback, hardcover, and eBook ISBNs 9780822319702, 9780822319627, and 9780822396871; a Turkish translation was published in 2018. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Deleuze and Cinema: The Aesthetics of Sensation by Barbara M. Kennedy, 2000 edition cover
2000 English edition coverVerify cover
05NO OA FULL BOOK
Original edition

Deleuze and Cinema: The Aesthetics of Sensation

English · Edinburgh University Press · 2000

ISBN 9780748611348Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How can cinematic experience shift from a model of the spectator interpreting a text to an event of sensation composed by matter, technology, brain, and body? How do colour, movement, and rhythm pass through conscious subjectivity while also acting on the body beyond it?

Contribution

Kennedy joins Deleuzian desire, affect, becoming, and becoming-woman to poststructuralist feminist film theory, replacing an Oedipalized viewing subject with an aesthetics of sensation. Cinema becomes a material rupture and molecular assemblage: rhythm, colour, and movement actively recompose bodies and identities. Readings of Orlando, The English Patient, Romeo + Juliet, Strange Days, and Léon ground the framework in distinct sensory organizations.

Reading route

First follow the theoretical movement from micropolitics and the critique of psychoanalysis through abstract machines, becoming, bodies, and sensation. Then enter the five film studies and mark how colour, movement, rhythm, and bodily position exceed narrative meaning. Return finally to the feminist problem: identify where molecular becoming loosens fixed identity and where it must reconnect with concrete gendered power.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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The Skin of the Film by Laura U. Marks, 2000 edition cover
2000 English edition coverVerify cover
06
Monograph

The Skin of the Film

Laura U. Marks

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Original edition

The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses

English · Duke University Press · 2000

ISBN 9780822323914Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

When colonial, migratory, and diasporic experience lacks a complete archive, how can cinema preserve history through surfaces, grain, food, fabric, sound, and bodily memory? How can viewers approach difference without immediately possessing it as knowledge?

Contribution

Marks studies intercultural cinema within unequal contact zones and develops haptic visuality, sense memory, fetish/fossil, and the portable sensorium as key tools. Low definition and proximate surfaces delay recognition, mobilize tactile viewing, and carry private sensory experience into colonial history, migration, and collective memory. Form, production infrastructure, cultural location, and viewing ethics occupy one analytical plane.

Reading route

Begin with the introduction and establish interculturality as a concrete position of power. Chapters 1–3 trace how absent archives, objects, and material surfaces preserve the past; Chapters 4–6 develop haptic visuality, nonvisual senses, and the portable sensorium. For each case, separately record material fact, evoked sensory memory, historical provenance, and the remainder the spectator cannot fully know.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Deleuze on Cinema by Ronald Bogue, 2003 edition cover
2003 English edition coverVerify cover
07
Monograph

Deleuze on Cinema

Ronald Bogue

NO OA FULL BOOK
Original edition

Deleuze on Cinema

English · Routledge · 2003

ISBN 9780415966047Verify edition
Published translations · 1
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How do the compressed philosophical sources, film examples, and sign names in the two Cinema books form an operational line of reasoning? What relation composes each sign, and from what cinematic condition does it arise?

Contribution

Bogue offers one of the clearest systematic reconstructions: from Bergsonian duration and matter-image through frame, shot, and montage into the signs of the movement-image, then from the sensory-motor crisis toward crystals, orders and series of time, noosigns, and lectosigns. He supplies conceptual transitions compressed by Deleuze while preserving the taxonomy's openness, enabling readers to name signs from shot relations.

Reading route

Read the chapters on Bergson and frame/shot/montage together as the book's foundation. In Chapter 3, record each movement-image through a compositional relation and a genetic element; in Chapters 4–6, track actual/virtual, past/present, thought/outside, and sound/visible after action breaks. After the conclusion, choose one atlas scene and perform the full five-step analysis: scale, circuit, sign, time, audiovisual relation.

A Simplified Chinese translation was published in 2025. No verifiable published Traditional Chinese edition was located.

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Deleuze, Cinema and National Identity by David Martin-Jones, 2006 edition cover
2006 English edition coverVerify cover
08
Monograph

Deleuze, Cinema and National Identity

David Martin-Jones

NO OA FULL BOOK
Original edition

Deleuze, Cinema and National Identity: Narrative Time in National Contexts

English · Edinburgh University Press · 2006

ISBN 9780748622443Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How is national identity produced through narrative time? How do mixtures of movement-image and time-image in contemporary cinema rewrite histories of war, reunification, crisis, and the global city?

Contribution

Martin-Jones relocates Deleuze's image taxonomy across national contexts including North America, Britain, Germany, Hong Kong, Japan, South Korea, Italy, and Poland, demonstrating the inseparability of form and historical politics. Within a single film, movement-image and time-image deterritorialize and reterritorialize one another. Temporal fracture may dismantle triumphalist history or be recaptured by national myth.

Reading route

Begin with the chapters on history and memory, establishing the relation between narrative time and national archaeology. In the global city, Gulf War, post-9/11, and Pacific Rim studies, draw two lines for each film: how historical time is disrupted and how the ending reorganizes action and identity. Then test the model with atlas world-cinema cases, specifying where films modify the taxonomy in return.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Deleuze, Altered States and Film by Anna Powell, 2007 edition cover
2007 English edition coverVerify cover
09NO OA FULL BOOK
Original edition

Deleuze, Altered States and Film

English · Edinburgh University Press · 2007

ISBN 9780748632824Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How does cinema induce altered consciousness through dreams, hallucinations, drugs, trance, ecstasy, sound, colour, rhythm, and spatial distortion? How does this affective contamination reorganize the spectator's body and thought?

Contribution

Powell builds a typology of altered consciousness that moves from dream machines and pharmacoanalysis through altered body maps to temporal distortion and fractal becoming. Deleuze and Guattari's assemblage, affect, haptics, and synaesthesia are applied across mainstream, art, and experimental cinema. The analysis follows how cinematic techniques derange the spectator's habitual coordinates. Digital and fractal images become new sensory directions.

Reading route

Begin with the introduction and define an altered state as an event co-composed by film and spectator. Proceed through dream, drugs, sensorium, time, and fractal becoming, recording visual distortion, sonic organization, bodily response, and narrative consequence in separate columns. Dream signs expand circuits of actualization; direct time takes form when action loses its governing role.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Deleuze and the Cinemas of Performance by Elena del Río, 2008 edition cover
2008 English edition coverVerify cover
10NO OA FULL BOOK
Original edition

Deleuze and the Cinemas of Performance: Powers of Affection

English · Edinburgh University Press · 2008

ISBN 9780748635252Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

Is screen performance merely the visible form of identity and narrative, or an affective force prior to meaning that can alter other bodies? How do gesture, speed, dance, and pause produce political relations?

Contribution

Del Río proposes an affective-performative cinema, using the Deleuze-Spinoza body, expression, and capacity to affect in place of performance theory's priority of visual form. Across films by Sirk, Fassbinder, Sally Potter, Claire Denis, and David Lynch, she analyses bodily movement, choreography, speed, and seduction, connecting these microforces to feminist politics. The body becomes an event that redistributes capacities within a scene.

Reading route

Begin with the introduction and distinguish representational performance from performance that produces affect. Proceed through animated fetishes, choreographies of affect, dancing feminisms, kinesthetic seductions, and powers of the false. In each chapter, select one movement passage and record posture, speed, contact, and changes in capacity. At the conclusion, test whether politics comes from stated identity or is already composed through what bodies can do.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Gilles Deleuze : cinéma et philosophie by Paola Marrati, 2003 French edition cover
2003 French edition coverVerify cover
11NO OA FULL BOOK
Original edition

Gilles Deleuze : cinéma et philosophie

French · Presses Universitaires de France · 2003

ISBN 9782130524434Verify edition
Published translations · 2
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How does cinema constitute an independent mode of thought for philosophy? How does Deleuze use cinema to rethink movement, perception, time, subjectivity, and our belief in the world?

Contribution

Across six compressed chapters, Marrati returns the Cinema books to Deleuze's philosophy of immanence. Beginning with images in movement, perception, and montage, she shows how postwar cinema loosens the structure of action and gives time a direct form, before gathering the argument around images and world. Her decisive contribution is to reject cinema's subordination to philosophy: films create problems of thought for which philosophy must invent concepts.

Reading route

Read Chapters 1–3 continuously to establish the common plane of movement, perception, and montage. Follow the postwar rupture and time-image through Chapters 4–5, then concentrate on immanence, subjectivity, and world in Chapter 6. Finish with the Cavell appendix, placing the lost everyday beside renewed belief in the world and marking where the two routes meet and diverge.

The French original appeared in 2003. The English hardback appeared in 2008 and the paperback in 2012. The Spanish translation is generally catalogued as 2004, with some records giving 2003.

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Documentary Time: Film and Phenomenology by Malin Wahlberg, 2008 edition cover
2008 English edition coverVerify cover
12NO OA FULL BOOK
Original edition

Documentary Time: Film and Phenomenology

English · University of Minnesota Press · 2008

ISBN 9780816649693Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

A documentary image is both a present viewing event and a trace left by the past. How do these times meet in nonfiction cinema? How do waiting, retrospection, archival recomposition, and sound give social memory a sensible form?

Contribution

Wahlberg brings phenomenology and Deleuzian temporality into documentary studies, placing Ricoeur, Bazin, and Mitry in the same conversation. The nonfiction image's trace is no longer merely proof that something existed; it is reconfigured through screening duration, the viewing body, historical figures, and the potential archival memory of representation. Documentary time expands beyond narrative order into a joint organization of sensory experience, social memory, and historical ethics.

Reading route

First secure the relation among trace, experience, and archive in the methodological chapters, then enter the classical films, video experiments, and Warhol cases. For each example, separately record the moment of recording, the present of viewing, the social past recalled, and the image's possible archival future. Finally, test a documentary scene: does its temporality arise from the event's content or from duration, sound, and recomposition?

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Photography, Cinema, Memory by Damian Sutton, 2009 edition cover
2009 English edition coverVerify cover
13
Monograph

Photography, Cinema, Memory

Damian Sutton

NO OA FULL BOOK
Original edition

Photography, Cinema, Memory: The Crystal Image of Time

English · University of Minnesota Press · 2009

ISBN 9780816647392Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

Must photography belong to stasis, loss, and death while cinema alone possesses moving time? How does a photograph continue to become in viewing, opening both depths of recollection and unrealized futures?

Contribution

Sutton extends Deleuze's crystal-image to photography and rejects the model of the photograph as a sealed past instant. Its actual surface and virtual memory form an open circuit through which a fixed image can lead into wandering recollection and accumulate future possibility. The book develops a taxonomy of photographic time through Goldin, Atget, Warhol, and others, contrasting it with cinematic time since 1895.

Reading route

Begin with the theoretical reformulation of the crystal-image and identify becoming within stillness. Across the photographic cases, record actual detail, activated virtual memory, and relations opening toward a future. Then compare cinema and ask how movement changes temporal structure. Finally, use an atlas crystal case to test whether photograph and film can share the same criterion of exchange.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

Dreams of Difference, Songs of the Same by Amy Herzog, 2010 edition cover
2010 English edition coverVerify cover
14NO OA FULL BOOK
Original edition

Dreams of Difference, Songs of the Same: The Musical Moment in Film

English · University of Minnesota Press · 2010

ISBN 9780816660889Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

When song and dance erupt within linear narrative, does the musical moment merely repeat familiar formulas, or can it reorganize time, space, body, and history? How does difference emerge from within repetition of cliché?

Contribution

Herzog uses difference, repetition, and refrain to analyse the musical's contradictory force. Musical spectacle relies on formulas, gendered/racial/class conventions, and cultural memory, yet its excess, abstraction, and bodily movement can interrupt narrative order. Jukebox shorts, adaptations of Carmen, Jacques Demy, Esther Williams, and Tsai Ming-liang form a cross-media route showing that the musical moment's liberating force must be tested within concrete repetitions.

Reading route

Begin with the introduction's question—how does the musical moment work?—then move through impossible jukebox bodies, Carmen's dissonant refrains, musical memory in Demy, and fluid bodies in aquatic spectacle. For every song, record three changes: whether narrative time pauses, whether space is recomposed, and whether convention is rewritten. Judge difference by the new relation an interruption produces, never by treating every musical break as liberation.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

Deleuze and Cinema: The Film Concepts by Felicity Colman, 2011 edition cover
2011 English edition coverVerify cover
15NO OA FULL BOOK
Original edition

Deleuze and Cinema: The Film Concepts

English · Berg · 2011

ISBN 9781847880536Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How can concepts from Deleuze's two Cinema books be used in screen analysis without reducing films to examples of terms? How do frame, cut, sign, time, politics, and thought compose an open cinematic system?

Contribution

Colman reconstructs film philosophy as a fourteen-step method beginning with the ciné-system. Movement, frame/shot/cut, montage, perception, affect, and action establish the base; TransSemiotics and the sign-vector address the production of meaning; time, politics, topology, and thought culminate in ciné-ethics. Taxonomy becomes a system whose relations are continually changed by bodies, technologies, sound, space, and power.

Reading route

On the first pass, read sequentially: Chapters 1–7 establish the mechanical and sensory bases of images; Chapters 8–10 show how signs move across systems and produce time; Chapters 11–14 address politics, topology, thought, and ethics. On the second pass, work backward from one concrete shot: describe technical relations, name the sign, then judge what body, space, and power it changes. Use the book's glossary beside the atlas terminology glossary.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Deleuze and World Cinemas by David Martin-Jones, 2011 edition cover
2011 English edition coverVerify cover
16
Monograph

Deleuze and World Cinemas

David Martin-Jones

NO OA FULL BOOK
Original edition

Deleuze and World Cinemas

English · Continuum · 2011

ISBN 9780826436429Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How do movement-images and time-images form new combinations across the distinct histories and politics of cinemas from Argentina, South Korea, Hong Kong, India, and globalized Los Angeles?

Contribution

The book releases Deleuze’s taxonomy from a narrowly European history, allowing national narration, colonial experience, and global circulation to modify the concepts. Its central question becomes how a film makes time within a specific world.

Reading route

Follow the sequence from Argentine child seers through South Korean time-travel films, Hong Kong action cinema, Los Angeles blockbusters, and Indian masala cinema; record how historical pressures alter the mixture of movement-image and time-image in each case.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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The Neuro-Image by Patricia Pisters, 2012 edition cover
2012 English edition coverVerify cover
17
Monograph

The Neuro-Image

Patricia Pisters

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Original edition

The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture

English · Stanford University Press · 2012

ISBN 9780804781367Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How do digital screens, databases, surveillance, and network culture reorganize the image’s relation to brain, body, and action?

Contribution

Pisters extends the movement-image and time-image through the neuro-image: contemporary images begin inside perception, folding pasts, possible worlds, and global information networks back into the present. Digital culture becomes a new cinema–brain circuit.

Reading route

Establish the primary coordinates through cinema, body, and brain; then follow the three variants of the neuro-image, comparing database narration, traumatic memory, and control images within one circuit.

The author and press provide the introduction, not the complete book. No published Chinese translation was located.

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Cinema After Deleuze by Richard Rushton, 2012 edition cover
2012 English edition coverVerify cover
18
Monograph

Cinema After Deleuze

Richard Rushton

NO OA FULL BOOK
Original edition

Cinema After Deleuze

English · Continuum · 2012

ISBN 9780826438928Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

Did the time-image truly replace the movement-image in cinema after Deleuze?

Contribution

Rushton stresses the continuing coexistence of the two regimes. A film may sustain an action-chain in one passage and release seeing, waiting, or sound from action in another, making the concrete formal transition the unit of analysis.

Reading route

Reconstruct the action structure of the movement-image, then judge scene by scene where the sensory-motor schema breaks; replace historical succession with coexistence, mixture, and local transition.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Deleuze e i concetti del cinema by Daniela Angelucci, 2012 Italian edition cover
2012 Italian edition coverVerify cover
19
Monograph

Deleuze e i concetti del cinema

Daniela Angelucci

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Original edition

Deleuze e i concetti del cinema

Italian · Quodlibet · 2012

ISBN 9788874624744Verify edition
Published translations · 1
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

Which concepts does cinema generate for itself? How do movement, time, the virtual, modernity, falsehood, life, repetition, simulacrum, sadism, and chance form a continuous chain of problems?

Contribution

Angelucci rereads Deleuze’s film philosophy through ten concepts. The first half moves through movement, time, the virtual, and modernity via Bergson and Nietzsche; the second develops falsehood, life, repetition, simulacrum, sadism, and chance through films by Raúl Ruiz and The Most Dangerous Game. The concepts arise from cinematic practice.

Reading route

Read Movement, Time, Virtual, and Modernity in sequence to establish the philosophical structure of the Cinema books. Then turn to Falsehood, Life, and Repetition, and finish with Simulacrum, Sadism, and Chance to see how concrete films reshape each concept.

Hacia una imagen no-tiempo by Sergi Sánchez, official 2022 open edition cover
2022 Spanish open edition coverVerify cover
20
Monograph

Hacia una imagen no-tiempo

Sergi Sánchez

OA FULL BOOK
Original edition

Hacia una imagen no-tiempo: Deleuze y el cine contemporáneo

Spanish · Universidad de Oviedo · 2013

ISBN 9788483179789Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How do digital images transform cinema's organization of death, memory, and time, moving from Edmund in Germany Year Zero to David in A.I. Artificial Intelligence?

Contribution

Sánchez uses the digital image as an axis for organizing postwar child seers, artificial life, death, spectrality, and temporal exhaustion into the problem of a non-time-image. The children of Germany Year Zero and A.I. Artificial Intelligence form a historical hinge between temporal fractures in film and persistence in digital cinema.

Reading route

Begin with the child seer of Germany Year Zero as a time-image baseline, then follow the chapters on digital images, artificial life, death, and spectrality into A.I.; finish by testing how non-time emerges jointly from technical carriers and the persistence of figures.

Deleuze’s Cinema Books by David Deamer, 2016 edition cover
2016 English edition coverVerify cover
21
Monograph

Deleuze’s Cinema Books

David Deamer

NO OA FULL BOOK
Original edition

Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

English · Edinburgh University Press · 2016

ISBN 9781474407687Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How do the many images and signs of the two Cinema books form a traceable and comparable taxonomy?

Contribution

Deamer reconstructs the genesis of cinematic signs through cineosis, placing taxonomy, syntheses of time, and film cases on one research map. It works best as an intermediary that repeatedly returns the reader to the primary text.

Reading route

Use the three introductions to grasp the levels of the taxonomy, compare them with the atlas glossary and sign constellation, and return every sign to its Cinema 1/2 chapter and film example.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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The Intensive-Image in Deleuze’s Film-Philosophy by Cristóbal Escobar, 2023 edition cover
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22NO OA FULL BOOK
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The Intensive-Image in Deleuze’s Film-Philosophy

English · Edinburgh University Press · 2023

ISBN 9781399517539Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

Can intensity connect movement, time, body, sound, and space without dividing cinema into two sealed historical eras?

Contribution

Escobar proposes the intensive-image as a transversal concept for variation, difference, and sensory pressure in Deleuzian film philosophy. Movement-image and time-image become tendencies that can overlap within one shot.

Reading route

Enter through the intensities of affect, perception, and body, then compare action-chains with direct time; record how colour, sound, speed, and gesture jointly transform relations in a shot.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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La Fable cinématographique by Jacques Rancière, 2001 French edition cover
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23
Chapter carrier

La Fable cinématographique

Jacques Rancière

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Original edition

La Fable cinématographique

French · Éditions du Seuil · 2001

ISBN 9782020510530Verify edition
Published translations · 3
English

Film Fables

Trans. Emiliano Battista · Berg · 2006

ISBN 9781845201685
↗
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

Is the break between movement-image and time-image a periodization of film history, or two powers that continually coexist within images?

Contribution

Rancière uses cinematic fable and the aesthetic regime to challenge a neat 1945 divide, recasting Deleuze’s categories as tendencies, tensions, and recurring formal choices. It is a central dispute over the history implied by the time-image.

Reading route

Read Deleuze’s account of the crisis of the action-image, then Rancière’s challenge; choose a film crossing both regimes and use shot evidence to determine how they coexist.

Reference [32] cites a chapter in the English edition. This record restores the French carrier volume and its translations.

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Living Images by Xu Hui, 2014 Simplified Chinese edition cover
2014 Simplified Chinese edition coverVerify cover
24NO OA FULL BOOK
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《有生命的影像：吉尔·德勒兹电影影像论研究》

Simplified Chinese · 北京大学出版社 · 2014

ISBN 9787301243565Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How does Deleuze understand cinematic images as living powers of difference and becoming?

Contribution

Xu Hui systematically connects image ontology, movement, time, difference, and life in Chinese, building a complete route from philosophical foundations into both Cinema books. It returns cinematic terminology to Deleuze’s broader thought.

Reading route

Use the atlas chapter guide to grasp the whole structure, then return to the primary texts through movement-image, time-image, and difference; each chapter opens onward to films and terminology.

The original is in Simplified Chinese. Gilles Deleuze on Cinema Image is a parallel English title, not an English translation. No published foreign-language or Traditional Chinese edition, or open full book, was located.

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The Posthuman Image by Jiang Yuhui, 2024 Simplified Chinese edition cover
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25NO OA FULL BOOK
Original edition

《后人类影像：探索一种后德勒兹的电影哲学》

Simplified Chinese · 上海人民出版社 · 2024

ISBN 9787208190122Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How do ghosts, infection, war, the machine-eye, and slow time move film philosophy into a post-Deleuzian phase and reshape subjectivity?

Contribution

Jiang Yuhui connects negativity, subjectivity, and contemporary technology through the posthuman image, organizing ghosts, infection, war, haptics, apocalypse, cities, ecology, and games into a field of image-problems. Film philosophy turns from vitalism toward the reconstruction of subjectivity through vulnerability, passivity, and human–machine entanglement.

Reading route

Begin with the posthuman subject and the three images of ghost, infection, and war; move through delirium, haptics, and apocalypse; end with the machine-eye, slow time, and mind-games as contemporary human–machine relations.

Difference and Repetition, translated by Paul Patton, English edition cover
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26
Monograph

Différence et répétition

Gilles Deleuze

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Original edition

Différence et répétition

French · Presses Universitaires de France · 1968

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Published translations · 3
Simplified Chinese

《差异与重复》

Trans. 安靖；张子岳 · 华东师范大学出版社 · 2019

ISBN 9787567591363
↗
ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How can difference escape the rule of identity, and how can repetition become a power that produces the new?

Contribution

This philosophical work grounds the actual–virtual relation, syntheses of time, image of thought, and becoming. Sheets of past, peaks of present, and crystalline relations in the Cinema books acquire their deeper temporal background here.

Reading route

Begin with difference, repetition, and the virtual, proceed to the three syntheses of time, and return to crystal-images and cinematic forms of past and present to see philosophy recreated by shots.

The Brain Is the Screen, edited by Gregory Flaxman, 2000 edition cover
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27
Edited collection

The Brain Is the Screen

Gregory Flaxman (ed.)

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Original edition

The Brain Is the Screen: Deleuze and the Philosophy of Cinema

English · University of Minnesota Press · 2000

ISBN 9780816634477Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

If the brain is the screen, what immanent relation joins image, thought, perception, and world?

Contribution

This foundational collection established Deleuzian film philosophy in Anglophone scholarship across philosophy, film history, space, gender, and thought. It presents the Cinema books as an expanding and internally contested set of research problems.

Reading route

Start with the editor’s framing of cinema, brain, and thought, then choose chapters by problem; return each concept to the atlas glossary and films to compare early Anglophone readings of the primary text.

The work is in English. The Chinese phrase ‘the brain is the screen’ also names Deleuze’s interview and does not establish a translated edition of the collection.

Afterimages of Gilles Deleuze’s Film Philosophy, edited by D. N. Rodowick, 2010 edition cover
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28
Edited collection

Afterimages of Gilles Deleuze’s Film Philosophy

D. N. Rodowick (ed.)

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Original edition

Afterimages of Gilles Deleuze’s Film Philosophy

English · University of Minnesota Press · 2010

ISBN 9780816650071Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

How do the ‘afterimages’ of Deleuze’s film philosophy continue to work across digital media, politics, aesthetics, and intermedial practice?

Contribution

The collection moves from internal commentary on the Cinema books to their aftereffects, placing time, body, space, and media boundaries under new historical conditions. Its multi-author form makes conceptual disagreements directly comparable.

Reading route

Select essays along digital, embodied, spatial, and political lines, then follow authors through the atlas scholar map; for each essay, record which primary relation it extends, modifies, or contests.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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Deleuze and Film, edited by David Martin-Jones and William Brown, 2012 edition cover
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29
Edited collection

Deleuze and Film

David Martin-Jones; William Brown (eds.)

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Original edition

Deleuze and Film

English · Edinburgh University Press · 2012

ISBN 9780748641208Verify edition
Published translations · 0

No verifiable published translation record was located.

ATLAS READING NOTEOpen the book’s problem, contribution, and reading route

Core question

What new methods emerge when Deleuzian film philosophy enters world cinema, digital images, gender, religion, and genre studies?

Contribution

The collection presents multiple routes to the time-image and brings local aesthetics and global genres into concept production. Its value lies in disagreement: chapters offer different answers about conceptual openness, historical boundaries, and film evidence.

Reading route

Choose a chapter by region or theme, return its films to the atlas, and compare three tensions—movement/time, body/technology, local/global—to test whether conceptual expansion is supported by shots.

The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.

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LEGAL FULL TEXT / OPEN MATERIALS

Materials legally available in full

Books, open issues, articles, and seminar summaries state their carrier and licence separately. Links lead to publishers, repositories, journals, or author pages.

01CC BY-NC-ND 4.0

Hacia una imagen no-tiempo: Deleuze y el cine contemporáneo

Sergi Sánchez · 2022

Official OA edition from Universidad de Oviedo; 314 PDF pages. Cite the 2022 edition.

Open complete book
02Open issue

Death-Images: Revisiting Deleuze’s ‘Time-Image’ in Cinema after 1985

Revista de Comunicação e Linguagens 63 · 2025

The journal hosts the complete issue. Article pages state CC BY-NC 4.0; follow the licence shown on each article record.

Open open journal issue
03CC BY-NC

Death as Film-Philosophy’s Muse

Susana Viegas · 2023

Full text in the Universidade NOVA de Lisboa repository.

Open peer-reviewed article
04Author-hosted

德勒兹『思想—影像』或『思想＝影像』之条件及问题性

杨凯麟 / Yang Kailin · 2003

Public file on the author’s website; no separate Creative Commons licence is stated.

Open author-hosted article
05Institution-hosted

Cinema, Truth and Time: The Falsifier — 22 Session Summaries

The Deleuze Seminars / Charles J. Stivale · 1983–84 / 2024 summary

Twenty-two session summaries hosted by Purdue’s Deleuze Seminars project.

Open seminar summaries
06DOAJ / archived journal page

The Time-Image: Deleuze, Cinema, and Perhaps Language

T. C. Wall · 2004

Listed as open access by DOAJ; the link opens an Internet Archive capture of the original journal page.

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