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dc.creatorCelis, Claudio
dc.date.accessioned2019-01-30T18:33:34Z
dc.date.available2019-01-30T18:33:34Z
dc.date.issued2019es_CL
dc.identifier.urihttp://hdl.handle.net/10533/232942
dc.description.abstractThe aim of this article is to explore how the differences between Guy Debord and Gilles Deleuze delineate two different interpretations of the politics of found footage cinema. To do so, the notion of cinematic interval is crucial. While Debord’s practice of détournement presupposes a Hegelian-inspired notion of interval that allows for self-awareness to be achieved, Deleuze puts forth a Bergsonian concept of interval that functions as a condition of possibility for creating an ‘image of movement in itself’. To explore these two interpretations, this article uses Guy Debord’s 1973 film The Society of the Spectacle as a case study. By focusing on this specific object, the two interpretations of the cinematic interval make it possible to compare two alternative ways of dealing with the representability – or unrepresentability – of capital, and hence to sketch two alternative views on the politics of found footage film practices.es_CL
dc.relationinstname: Conicyt
dc.relationreponame: Repositorio Digital RI2.0
dc.relation.urihttps://www.euppublishing.com/doi/abs/10.3366/dlgs.2019.0341es_CL
dc.rightsinfo:eu-repo/semantics/openAccesses_CL
dc.rightsCC0 1.0 Universal*
dc.rights.urihttp://creativecommons.org/publicdomain/zero/1.0/*
dc.titleFrom Spectacle to Deterritorialisation: Deleuze, Debord and the Politics of Found Footage Cinemaes_CL
dc.typeArticulo
dc.identifier.folio3160053es_CL
dc.relation.projectidinfo:eu-repo/grantAgreement//3160053es_CL
dc.relation.setinfo:eu-repo/semantics/dataset/hdl.handle.net/10533/93477
dc.rights.driverinfo:eu-repo/semantics/openAccess
dc.title.journalDeleuze and Guattari Studieses_CL
dc.type.driverinfo:eu-repo/semantics/article
dc.type.openaireinfo:eu-repo/semantics/publishedVersion


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