ABSTRACT
Deleuze famously adored images. His books, Cinéma 1: L’Image-mouvement and the second volume L’Image-temps, were love letters to twentieth-century film.2 He believed that the cinematic image could be used to reformulate philosophy, and was, importantly, involved with the circle of writers and filmmakers surrounding the Nouvelle Vague and its journal Cahiers du cinema, edited by André Bazin.3 Deleuze likened the new “image” of philosophy to the de-territorialized cinema of Jean-Luc Godard with its atemporal and disconnected spatial effects, and “rhizomatic” visual structure, where a free subjectivity could be released.
