Abstract:
This article aims to open a methodological discussion on film reading from a Benjaminian- Deleuzian approach، and discusses its application based on the analysis of About Eli. To reach this aim، the duality of reality and art، or the relation between story and reality or cinema and reality as the theoretical bases of methodological discussions on cinema and film analysis، are explicated. Then، the Deleuzian epistemology about cinema and its challenge with the Platonic issue of the contradiction of social reality and its representation or cinematic picture as the theoretical basis of Benjaminian- Deleuzian methodology in film analysis، will be discussed. Also، the Benjaminian- Deleuzian methodology as opposed to the dominant linguistic and psychological methodologies in film studies will be discussed. Benjamin and Deleuze’s essays on film studies can be regarded as an end to the dominance of content-centrism in film reading. Therefore، Deleuze’s approach to cinema is opposed to the realistic and phenomenological approaches of Andre Bazin and the linguistic and psychoanalytic approach of Christian Metz. While the Benjaminian- Deleuzian framework avoids getting involved in film studies، as a representational tool in the framework of representation tradition، it presents a double reading of cinema. The Benjaminian- Deleuzian methodology involves simultaneous analysis of aesthetic aspects of film and its socio-political aspects. Eventually، to make the theoretical and methodological discussions more understandable، a recent Iranian film called About Eli is analyzed and its results are discussed. This article aims to open a methodological discussion on film reading from a Benjaminian- Deleuzian approach، and discusses its application based on the analysis of About Eli. To reach this aim، the duality of reality and art، or the relation between story and reality or cinema and reality as the theoretical bases of methodological discussions on cinema and film analysis، are explicated. Then، the Deleuzian epistemology about cinema and its challenge with the Platonic issue of the contradiction of social reality and its representation or cinematic picture as the theoretical basis of Benjaminian- Deleuzian methodology in film analysis، will be discussed. Also، the Benjaminian- Deleuzian methodology as opposed to the dominant linguistic and psychological methodologies in film studies will be discussed. Benjamin and Deleuze’s essays on film studies can be regarded as an end to the dominance of content-centrism in film reading. Therefore، Deleuze’s approach to cinema is opposed to the realistic and phenomenological approaches of Andre Bazin and the linguistic and psychoanalytic approach of Christian Metz. While the Benjaminian- Deleuzian framework avoids getting involved in film studies، as a representational tool in the framework of representation tradition، it presents a double reading of cinema. The Benjaminian- Deleuzian methodology involves simultaneous analysis of aesthetic aspects of film and its socio-political aspects. Eventually، to make the theoretical and methodological discussions more understandable، a recent Iranian film called About Eli is analyzed and its results are discussed.
Machine summary:
This intertwining always takes place in a social space that makes cinema like one of the cultural patterns at work, in fact, “Cinema presents a large-scale visual imagination and narrative flow to culture...
In this approach, the examination of the film begins with a high-level assessment of the theory in question, and then points at the end refer to the film as cultural products whose special images are at the service of demonstrating the correctness of a theory, and the film as another phenomenon that must be understood in order to make the theory comprehensible.
The goal is first to problematize the duality of the real and art, or the relationship between narrative and reality, or cinema and reality, and to explain epistemology and cinema and film analysis as a theoretical framework.
Then, with reference to this theoretical framework, Deleuze's epistemology of cinema and its challenge to Platonic issues, the opposition between social reality and representation or cinematic image will be presented as the basis of the Benjamin-Deleuze methodology in film analysis.
In this section, by looking at the fish and the concept of duality of art and reality, and at the interaction of cinema and society, we prepare the epistemological ground for presenting Deleuze's methodology.
Based on this and considering Deleuze’s understanding, cinema is neither a mere mirror nor a distorted image of society, but also presents the possibilities of the social world and makes them available to us.
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