ABSTRACT

On the basis of Bergson's dualistic epistemological theory, in which intuition confronts analysis and metaphysics confronts science, the cinema of Deleuze looks out for the "time-image" and grants the "seer" a privileged place. From the beginning, indeed from the very first page of Benjamin's essay "Work of Art in the Age of Mechanical Reproduction", its main focus is politics. Benjamin allows the fundamental conceptuality and epistemological interest to be dictated by theorist Karl Marx, concerning himself with the "conditions of production" in a society whose "dialectic" is no less noticeable in the "superstructure" than in the economy. In Hegelian terms, the primacy of politics is not directly apparent in theory. Distance is the opposite of closeness. The essentially distant object is the unapproachable one. The criticisms of Deleuze's ontology and epistemology can easily also hold true for his philosophy of cinema.