In ‘Where Film Meets Philosophy : Godard, Resnais, and Experiments in Cinematic Thinking’, Hunter Vaughan merges Maurice Merleau-Ponty’s phenomenology of perception with Gilles Deleuze’s image-philosophy to analyse cinema’s ability to challenge conventional modes of thought.
Referring to the term ‘plane of immanence’ from Gilles Deleuze’s ‘Cinema 1: the movement-image’ published in 1983, Vaughan speaks to the cinematic experience as ‘…a site of potentiality and becoming’, where unseen truths can be made visible by encapsulating tensions outside the cinematic frame, to encourage self-conscious moments of reflexivity wherein, thought can be reflected upon .[1]
Thinking through the premise of ‘derange’:
- Play with the cinematic strategy ‘mise-en-abîme’ (a film within a film);
- Transfigure the inside of a window within a wall into a cylindrical form, to turn the orientation of looking out of a window, inside-out. The act of looking out this window reflects the movement of animating cinematic frames.
- Play with the cinematic term ‘plane of immanence’;
- A collage of documented window panes with mottled glass only capture the shifting daylight captured from the outside of the window.
[1] Hunter Vaughan, ‘Where Film Meets Philosophy : Godard, Resnais, and Experiments in Cinematic Thinking’. New York: Columbia University Press. 2013. p5-9