10/02/2025

CfP Revista de Comunicação e Linguagens nº. 63: “Death-Images: Revisiting Deleuze’s “Time-Image” in cinema after 1985”

Death-Images: Revisiting Deleuze’s "Time-Image" in cinema after 1985

In her article “Death as Film-Philosophy’s Muse: Deleuzian Observations on Moving Images and the Nature of Time,” Susana Viegas has shown that Gilles Deleuze’s concept of the “time-image” (i.e. a way for moving images to present time breaking with the conception of the latter as a discrete sequence of moments, each mechanically linked to the previous and the next) is inseparable from conceiving of death in ways other than the mere interruption of a linear progression called “life.” That is to say, the “time-image” qua direct, non-mediated presentation of time cannot but be as well a “death-image” foreshadowing the presence of death before it happens in the future; an indirect, oblique way of expressing future nonexistence; a direct image of passing over time.

The “Lazarean subject”, i.e. the subject coming back from the dead as theorized most effectively in the cinematic practice of Alain Resnais (among others, in Guernica, 1950, Night and Fog, 1955, Hiroshima mon amour, 1959), is perhaps the most fitting exemplification of this convergence between “time-image” and “death-image”. To some extent, this convergence can be regarded as Deleuze’s contribution to a strand of French 20th century thought (e.g. Georges Bataille, Maurice Blanchot, Jacques Lacan, among others) fruitfully elaborating on what lies “between two deaths”, i.e. between the subject’s symbolic and real deaths.

The relationship between Deleuze’s cinematic taxonomy and history is a complex one – suffice it to mention the paramount importance of World War II (qua ultimate, collective trauma) in structuring his classification, down to the very division between his two tomes (Cinema 1: Movement-Image, 1983, and Cinema 2: Time-Image, 1985). Without going into the intricacies of this relationship, to affirm that a relationship of some kind with history is there in Deleuze’s taxonomy in the first place is safe enough for the following question to be legitimate and, arguably, inevitable: what happened to the “time-image” after the publication of Cinema 2?

Forty years after the release of Cinema 2: Time-Image, this special issue will collect essays on films and directors working after 1985 that exemplify the convergence between “time-image” and “death-image” in ways that are not perfectly coincident with the ways Deleuze put it in his cinema books but possibly illuminating it with the hindsight of a later historical perspective. We are looking for essays reflecting on post-1985 cinematic instances of this convergence and showing kinds of “death-images” that Deleuze could not have envisaged writing in 1985.

Essays dealing with films and directors from non-Western areas will be particularly welcome. As it is well-known, the section(s) of Cinema 2 on non-Western cinemas are deliberately tentative, and thus implicitly calling for future specification. Several major figures in recent so-called “World Cinema” (to name but a few: Jia Zhang-Ke, Lisandro Alonso, Apichatpong Weerasethakul, Abderramahne Sissako, Lav Diaz) engage deeply with “time-image”, and in a lot of cases their cinemas strongly relate to death and the “death-image” too. Essays on lesser-known figures would, however, be no less welcome.

Japan is of course a particularly important case in point. The atomic bombings of Hiroshima and Nagasaki, and their large-scale impact, profoundly informs Deleuze’s cinema diptych, and there is no shortage of Japanese works reflecting on them in a Deleuzian way (e.g. from Shohei Imamura’s Black Rain, 1989, to Nobuhiko Obayashi’s Labyrinth of Cinema, 2019; also, Yoji Yamada’s Tora-San series could hardly be seen as very Deleuzian as it unfolded in the 1970s and 1980s, and yet its 2019 culmination Tora-San, Wish You Were Here lends itself to be analysed at the intersection between “time-image” and “death-image” like very few others).

Manuscripts should be submitted online RCL - Journal of Communication and Languages.

Full manuscript submission deadline: May 31, 2025
Review process: July to October 2025
Editors’ decision: October 2025
Expected publication date: November 2025

Articles can be written in English, French, Spanish or Portuguese and will be blind peer reviewed. Visual essays will also be accepted. Formatting must be in accordance with the journal’s submission guidelines, and the submission must be made via the OJS platform.

Editors: Marco Grosoli, Lucas Ferraço Nassif, Vasco Marques e Susana Viegas

📸 Hiroshima, Mon Amour [1959], by Alain Resnais

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18/07/2025

The Film-Phil Lisbon Seminars: Davide Sisto

The next session of our Film-Phil Lisbon Seminars will be led by Davide Sisto (University of Turin), who will talk about “Thanabots. Digital immortality between sci-fi movies and reality”. Abstract This talk intends to focus on the topic of so-called digital immortality. In particular, it intends to analyze the birth and development of a particular […]
15/07/2025

Book Discussion: Queer Post-Cinema, by Astrid Deuber-Mankowsky

On September 25, 2025, a discussion will take place about the book Queer Post-Cinema: Reinventing Resistance (ICI Berlin Press 2025), by Astrid Deuber-Mankowsky. The discussion will be held in English, in the auditorium A2 of NOVA FCSH (Campus Av. de Berna) and will feature the author, Susana Viegas and Iracema Dulley. About the book: The […]
06/01/2025

CfP Special Issue on Swan Songs: Philosophical Reflections on Death, Time, and Memory in Testament Films

Swan Songs: Philosophical Reflections on Death, Time, and Memory in Testament Films Dedicated to the last films of renowned filmmakers, often referred to as “testament films” or “swan songs,” this Special Issue will examine their thematic, narrative, and stylistic elements, viewing these final works as profound summations of their creators’ careers and philosophical syntheses of […]
11/08/2025

Response to “Death, Disappearance, and Digitality: Existential Meditations on Cinema, Anime and Media”, by Corey P. Cribb

This publication proceeds from a talk given by Corey P. Cribb (Technological University Dublin) at Discovering/Uncovering: The NECS 2025 Conference, Lusófona University, June 19, 2025 (NECS) The goal of my talk today is to situate presentations by Susana Viegas (“Wandering Toward the End: Existentialism and Death in Gerry”), Lucas Ferraço Nassif (“Into the Wired: Lain […]
11/08/2025

New article by Marco Grosoli on Apichatpong’s Cemetery of Splendour (2015)

A new article by our post-doctoral researcher Marco Grosoli is now out, published in Cinergie‘s latest issue, edited by Massimo Fusillo and Mirko Lino. Cinergie is an open-access, peer-reviewed, class-A journal and the full issue is available here. In his paper, titled “The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of Splendour”, Marco Grosoli […]
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Funded by the European Union (ERC, FILM AND DEATH, 101088956). Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Research Council Executive Agency. Neither the European Union nor the granting authority can be held responsible for them.

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