The sculptor of time: some keys to Gilles Deleuze’s “cinematographic philosophy”




Deleuze, philosophy of film, Bergson, nihilism, aesthetics


Gilles Deleuze has offered in his two studies on cinema —L’image–mouvement et L’image– temps— one of the most ambitious proposals of the last decades on the relation between philosophy and cinema, constructing a true “cinematographic philosophy” and inaugurating, in parallel to Stanley Cavell, a fruitful line of philosophical research that has been called “film–philosophy”. His first work focuses, essentially, on a metaphysics of time inspired by the philosophy of Henri Bergson, but using the possibilities of cinema to complement and transcend the ideas of the author of L’évolution créatice. In his second work, on the other hand, Deleuze analyzes film modernity, together with the new regime of images that it promotes, as a symptom of contemporary nihilism and in turn as a tool that can collaborate in its overcoming. We will try to make a general presentation of the keys of the Deleuzian approach, taking as a reference the following two axes: the conception of cinema as a true ontological model capable of allowing us to think of the time and the universe in a promising way, and the aptitudes of cinema as an ethical instance from which to oppose the dangers of contemporary nihilism.

= 262 veces | PDF (ESPAÑOL (ESPAÑA))
= 19 veces| | VISOR (ESPAÑOL (ESPAÑA))
= 17 veces|


Download data is not yet available.


Metrics Loading ...

Author Biography

Javier Ruiz Moscardó, Universitat de València

Docente del Departamento de Metafísica y Teoría del Conocimiento de la Facultad de Filosofía y Ciencias de la Educación de la Universitat de València. Investigador en Formación del programa FPU del Ministerio de educación, cultura y deporte [FPU12/04046]. Trabaja especialmente los campos de la Filosofía del cine y Neopragmatismo y crisis de la Teoría del conocimiento. Publicaciones: “̔Ni la presencia ni la ausencia̓ : el concepto de representación y sus implicaciones”, Agora: Papeles de filosofía, (2016); “El cine, ¿puede hacernos peores? Stanley Cavell y el perfeccionismo moral”, Ideas y Valores (2016).


Álvarez Asiáin, E. (2011a). De Bergson a Deleuze: la ontología de la imagen cinematográfica. Eikasia: revista de filosofía, 41, 93–112.

Álvarez Asiáin, E. (2011b). La cuestión ética de la creencia en el mundo a través del cinematógrafo. Cuaderno de Materiales, 23, 5–23.

Bergson, H. (1963). Obras escogidas. Madrid: Aguilar.

Bogue, R. (2003). Deleuze on Cinema. New York & London: Routledge.

Carroll, N. (1988). Film/Mind Analogies: The Case of Hugo Munsterberg. The Journal of Aesthetics and Art Criticism, 46(4), 489–499.

Deleuze, G. (1984). La imagen–movimiento: estudios sobre cine 1. Barcelona: Paidós.

Deleuze, G. (1987). La imagen–tiempo: estudios sobre cine 2. Barcelona: Paidós.

Merrell, F. (1998). Introducción a la semiótica de C. S. Peirce. Maracaibo: Universidad del Zulia.

Rodowick, D. (1997). Gilles Deleuze’s Time Machine. Durham & London: Duke University Press.

Ruiz Moscardó, F. J. (2016). El kantismo de Hugo Munsterberg en los orígenes de la filosofía del cine. Contrastes: Revista Internacional de Filosofía, 21(2), 145–162.

Sinnerbrink,R. (2016). Cinematic Ethics:Exploring Ethical Experience through Film. New York & London: Routledge.

Turvey, M. (2008). Doubting Vision. Film and the Revelationist Tradition. Oxford: Oxford University Press.



How to Cite

Ruiz Moscardó, J. (2018). The sculptor of time: some keys to Gilles Deleuze’s “cinematographic philosophy”. Estudios De Filosofía, (58), 119–142.

Similar Articles

1 2 3 4 5 6 7 8 9 10 11 > >> 

You may also start an advanced similarity search for this article.