Uwierzyć w ciało, uwierzyć w śmierć. Kilka analiz filmowych na marginesie filozofii kina Gillesa Deleuze’a

  1. Małgorzata Jakubowska


Believe in the body, believe in death1. Several film analyses on the margin of the
philosophy of film by Gilles Deleuze

G. Deleuze, while describing the contemporary audiovisual culture, points out to a paradox. The man has lost the sense of his own, authentic life, and is stuck in the world as if he found himself in a pure optical and sound situation instead. The philosopher ponders how to recover man’s faith in the world and reconnect him with what he sees and hears, how to make him sensitive to issues that are the most vital for his existence, such as love and death.
The philosopher-cineaste proposes something apparently absurd, namely encourages us to watch a good movie. Deleuze is not interested in a film performance offered by entertainment cinema, he is looking for films which will make us think and teach us, how to believe in the reality of the world again. Such belief should find its source in corporeality discovered by the cinema: both the common and the celebrated ones. The center of the world in this philosphy is the belief in the body as a germ of life and death. In my analyses, referring to the thoughts of the French philosopher, I suggest taking into account three documentary films: Obrzędy intymne (1984) by Zbigniew Libera, Balsamista (2001) by Ewa Świecińska and Istnienie (2007) by Marcin Koszałka. These three stories about life and death do not leave the viewer indifferent.


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Dyskurs. Pismo Naukowo-Artystyczne ASP we Wrocławiu

24, 2017

Pages from 86 to 105

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