This essay argues that the time of domestic labor played a pivotal role in Gilles Deleuze’s philosophy of the cinema and, in particular, in his theorization of the cinema as medium of expression (rather than as medium of representation only) and as expression of time. This argument pays close attention to Deleuze’s engagement with Italian neorealist cinema and especially to his interpretations of Luchino Visconti’s Ossessione and Vittorio De Sica’s Umberto D. (including André Bazin’s analysis of the latter).
Images for Housework: On the Time of Domestic Labor in Gilles Deleuze’s Philosophy of the Cinema
cesare casarino is a professor and the chair of cultural studies and comparative literature, as well as a senior editor of Cultural Critique, at the University of Minnesota. He is the author of Modernity at Sea: Melville, Marx, Conrad in Crisis (University of Minnesota Press, 2002), coauthor (with Antonio Negri) of In Praise of the Common: A Conversation on Philosophy and Politics (University of Minnesota Press, 2008), and coeditor of Marxism beyond Marxism (Routledge, 1996) and of Another Mother: The Symbolic Order of Italian Feminism (University of Minnesota Press, 2018). He has published numerous essays on literature, cinema, and philosophy, and he is at work on book manuscripts on Baruch Spinoza and Karl Marx, on Pier Paolo Pasolini, and on Gilles Deleuze’s philosophy of the cinema.
Cesare Casarino; Images for Housework: On the Time of Domestic Labor in Gilles Deleuze’s Philosophy of the Cinema. differences 1 December 2017; 28 (3): 67–92. doi: https://doi.org/10.1215/10407391-4260543
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