ABSTRACT
The consequences of Gilles Deleuze's reading are significant for the theorization of cinema, which all too often privileges material over process. On the one hand, the cinema intervenes as a critical analyzer, capable of crystallizing the stakes of a conceptual modernity where the power of the false renders as unrealizable the distinctiveness of the categories of true and false, real and imaginary, which form the basis of classical philosophy. But on the other hand, through Deleuze's filmic incantation there can be heard the echo of a demand for love that does not come from love for film alone. By means of an impossible taxonomy of cinema, it is the integer of the fragments that makes itself heard: a sum of instances transformed into essences, where, in Deleuze's reading, the cinema answers to the nostalgia of a poetry without writing.
