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).

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