Notes

Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome

1. The quote is from Beckett’s . 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006).

1 Thinking the Unthinkable: Time, Cinema and the Incommensurable

1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although , like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983). 6. ‘The will to power is, indeed, never separable from particular determined forces, from their quantities, qualities and directions. It is never superior to the ways that it determines a relation between forces, it is always plastic and changing.’ Deleuze (1983), p. 50.

2 Beyond Percept and Affect: Beckett’s Film (1964) and Non- Human Becoming

1. Clark’s version can be viewed on DVD at the BFI archive in . 2. The room, like the vestibule, was an Upper West Side studio set built to Beckett’s exacting specifications.

190 Notes 191

3. According to Rosemary Pountney, Beckett originally planned to have a recent scowling photo of O himself on the wall with a dedication to his mother, dated Xmas 1929. See Pountney (1988), p. 126. 4. A possible allusion to Keaton’s The Cameraman (1928), where a pet monkey saves the day. 5. Note how God is also represented as a split subject in the form of two parts of the Holy Trinity.

3 From ‘Dialoghorrhea’ to Mental- Image: Comédie (1966), (1977) and What Where (1986)

1. Karmitz went on to have a distinguished career as both director – most notably his post- May ’68 political drama, Coup pour coup (1972) – and producer: Godard’s Sauve qui peut (la vie) (1980); Claude Chabrol’s Madame Bovary (1991); and Krzysztof Kieslowski’s Three Colours trilogy: Blue, White and Red (1993–94). 2. In the western, for example, the ultimate encompasser is the sky and its pulsations, which envelops the milieu and, in turn, the collectivity that develops and acts within it. 3. Lutterbie (1991) gives an excellent account of these processes in his essay, ‘Tender Mercies’. 4. In contrast, while Sean McGinley plays both images of Bam, Gary Lewis plays Bem, Bim and Bom in Damien O’Donnell’s 1999 ‘’ production.

4 Matter and Memory: The Image as Impersonal Process in (1966), Ghost Trio (1977) and ...but the clouds... (1977)

1. Even so, the image quality benefited a great deal from its BBC 2 airing – 625 lines, UHF sound (compared to 405 lines and VHF on BBC 1 until 1969). 2. For an excellent comparative analysis of three different versions of Eh Joe, see Herren (1998). 3. All four versions may be viewed at the Avery Fisher Center for Music and Media of University’s Bobst Library. 4. This seems to be a variation on the opening of Robert Browning’s ‘Rabbi Ben Ezra’: ‘Grow old along with me! / The best is yet to be, / The last of life, for which the first was made: / Our times are in his hand / Who saith, “A whole I planned, / Youth shows but half; trust God: see all, nor be afraid!”’ 5. There are already obvious structural similarities to Beckett’s radio piece, . 6. It is absent from the Herms/Whitelaw production, suggesting that Joe is too exhausted from his battle with Voice’s whispered venom to even acknowledge any sort of ‘victory’. 7. According to cameraman Jim Lewis, the perfectionist Beckett wanted the corners of the lips to protrude into the image by ¼ cm, not ½. Deleuze (1997c), p. 205 n. 70. 192 Notes

8. Both ...but the clouds... and Ghost Trio were subsequently remade in Polish as …jak obloki... (1987) and Trio Widm (1988) respectively by Antoni Libera for Theatre Centre ‘Warsztatowa’. 9. My analysis of the musical elements in Ghost Trio is heavily indebted to Fletcher and Fletcher (1978), pp. 235–6; and Catherine Laws’s superb account (2003). 10. The cassette player emits music only when the protagonist is seated, leaning over the machine. 11. Beckett uses the opening to bar 83 in the SDR version. 12. For an excellent discussion of these points see Douglas (1990), pp. 19–20. 13. This shot is cut from the SDR version. 14. In the SDR version, ‘F’ bows his head when confronted by his double, so that his hair is reflected in the mirror, suggesting that this is not a literal point- of- view shot – otherwise, following his eyes, we would see the floor – but a free- indirect construction of subjectivity. 15. The oilskins are only in the BBC version. 16. The Bresson citation is taken from (1977), p. 46. Translation modified. 17. For further discussion of Duras’s use of pre- diegetic sound see Liang (2007). 18. Beckett himself asked for the shot to be as unreal as possible. Bignell (2009), p. 110. 19. In an earlier draft, this line is in the present tense, suggesting that Beckett, like M, was self- reflexively aware of a similar process of revision intrinsic to the act of mental creation, both within and outside the exegesis. 20. An early typescript has W speak in her own voice, but Beckett crossed it out. Reading University Library, MS1553/3. 21. Several critics have pointed out the Shakespeare reference here: a line that Hamlet’s Horatio addresses twice to the ghost of the murdered king, a line also met with silence: ‘Stay, illusion! / If thou hast any sound, or use of voice, / Speak to me; / If there be any good thing to be done / That may to thee do ease and grace to me, / Speak to me’ – Act 1, Scene 1.

5 How to Build a Desiring Machine: I & II (1981)

1. Ghost Trio and the TV version of Not I had originally been printed in colour before the decision was made to air them in black and white. 2. The SDR version was actually performed by two men and two women. 3. The paper will appear as the chapter, ‘Desiring- Machines, Chaoids, Probeheads: Towards a Speculative Production of Subjectivity (Deleuze and Guattari)’, in O’Sullivan (2012). 4. The diagram is illustrated in its original context in Bergson (1991), p. 162.

6 Video- body, Video- brain: Nacht und Träume (1983) as Televisual Event

1. In addition to Herren (2007), see also Herren (2000a, 2000b). 2. The vocal ‘was performed by an amateur singer who worked in the studio’s technical crew and did not want his name to appear in the credits’. Kalb (1989), p. 254 n. 4. Notes 193

Conclusion: The Incommensurable Unnamable: Beckett, Deleuze and the Birth of the Event

1. In 2008 the SDR versions of Beckett’s teleplays were released on DVD by Absolut Medien, Berlin. The single- disk package includes a booklet featuring a German translation by Erika Tophoven of Deleuze’s ‘Épuisé’ entitled ‘Erschöpft’. Bibliography

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(Samuel Beckett Today/Aujourd’hui 4) (Amsterdam and Atlanta, GA: Editions Rodopi), pp. 53–64. Zourabichvili, Franc¸ois (2000) ‘The Eye of Montage: Dziga Vertov and Bergsonian Materialism’, trans. Melissa McMahon, in Gregory Flaxman (ed.) The Brain is the Screen: Deleuze and the Philosophy of Cinema (Minneapolis: University of Minnesota Press), pp. 141–9. Index

Note: The main reference to each of Beckett’s films and teleplays is given in bold under each sub- entry, while ‘n’ after a page reference indicates that the entry is contained in the Notes section. Plates are referred to by number at the end of each listing. Titles of films, musical and literary works can be found under their respective directors’, composers’ and authors’ names where the latter are also mentioned in the text. Filmic categories from Deleuze’s Cinema 1 and Cinema 2 (e.g. movement- image; time-image) and Deleuzian philosophical terms (e.g. plane of immanence; any- space-whatever) are included as main entries throughout except in cases where they also constitute relevant, cross- referenced sub-entries under other names (e.g. Badiou: event; Guattari: machinic).

Absolut Medien, Berlin, 193n. 64, 93, 101, 106, 138–9, Abstract Expressionism, 151 175, 178 abstraction, 151 compared to affections, 55, 106 and brain, 151 as event, 61, 178 see also Figure Albright, Daniel, 52 Ackerley, Chris J., 7, 171 Alice in Wonderland (1865), 117 action-image, 6, 11, 21, 24–5, 29–30, Althusser, Louis (1918–90), 88 32–4, 41, 45–7, 51, 54, 61, interpellation, 88–9, 131, 136 75–6, 81–2, 128, 184–5, 188 anti- Logos, 90, 140 large form, 29, 33, 188 and hieroglyphs, 90, 140 and myth, 29 see also Logocentrism small form, 29 Antonioni, Michelangelo (1912–2007), see also Burch, Noel; Realism 25, 28 actual, 10, 17, 19, 28, 33, 35, 100, any- space-whatever, 4–5, 28, 33, 124, 163, 171, 180–1 56, 62, 76, 100, 108, 132, see also crystal- image; virtual 136, 141, 143, 149, 152, affection- image, 5, 21, 24–5, 27–8, 33, 161–2, 165, 184; see also 41, 45, 54, 64, 75, 78, 81, 110, affection-image 115, 117, 184, 188 aporia, 3, 31–2, 35–40, 50–1, 94, 183 and close- up, 28 apparatus, 6, 20–1, 27, 39, 50, 52, 60, see also any- space-whatever; 71, 74, 99, 125 colour- image and colourism apparatus theory, 21 affections/affective, the, 28–9, 33, 54–5, camera self- consciousness, 51 76, 83, 95, 105–7, 115, 117, 127, meta- communication, 32, 43, 45, 129, 136, 145, 166, 170, 183 50, 53, 67, 125, 185 compared to affects, 55, 106 see also suture and time- image, 139 Artaud, Antonin (1896–1948), 38–9 and war machine, 139 letters to Jacques Rivière, 38 see also Deleuze, Gilles and Guattari, ‘Reply to a Questionnaire’ Félix (1924–25), 38 affects (incommensurable), 4, 6, 17, shock, 38–9 19, 21, 24, 38, 40, 53, 55, 61, thinking as genitality, 38

213 214 Index

Artaud, Antonin (1896–1948) – continued 96, 99–101, 106, 114, 116, thought, 38–9 156–7, 165, 178, 184–5, 187 and powerlessness, 39 Dream of Fair to Middling Women Asmus, Walter, 95, 109, 123; Pl. 2 (1932), 190n. assemblage, 1, 5, 99, 138, 151, 157, Eh Joe (aka He Joe; Dis Joe) (1966), 165–6 3, 5, 26, 28, 42, 92, 106–7, and machinic, 166 108–23, 128, 133, 141, 144, see also Guattari, Félix: abstract 146, 154, 162, 176, 184, 191n.; machine Pl. 2, Pl. 3 Autant- Lara, Claude (1901–2000), 66 (1957), 42 automatism, 19, 38, 77 Film (1964 version), 3, 5, 7, 27, 34, see also spiritual automatism 41–56, 63, 66, 86, 92, 98, 109–11, 115, 117, 126, 144, Bachelard, Gaston (1884–1962), 161 171–2, 178, 184–5; Pl. 1 Bacon, Francis (1909–92), 81, 105, Film (1979 version), 5, 24, 28, 150–2, 162 56–62, 172 Man Carrying a Child, 152 Footfalls (1976), 156 see also Figure; logic of sensation Ghost Trio (aka Geister Trio) (1976), Badiou, Alain, 10–12, 81 3, 5, 26, 96, 106–8, 120, 122, event, 10–11 123–40, 147, 152, 154, 157, set theory, 11 161–2, 165, 170, 172–3, 176, Bair, Dierdre, 67 179, 184–5, 187, 192n.; Pl. 7 Bakewell, Michael, 108 (1961), 2 balade, 33 How It Is (1961), 2, 94, 108 Baroque drama, 140 J.M. Mime (1963), 86–7, 155 and hallucination, 140 Kilcool (1964–65), 86–7 Barrault, Jean-Louis (1910–94), 109, Krapp’s Last Tape (1958), 123, 138 113, 117–18 Mime du Rêveur A (1954), 171 Barthes, Roland (1915–80), 18, 74 (1951), 3, 167 S/Z (1970), 74 Murphy (1938), 3, 52, 54, 94, 116, ‘Upon Leaving the Movie Theater’ 141, 149 (1975), 74 Nacht und Träume (aka Noc i Sny) Bataille, Georges (1897–1962), 45 (1983), 3, 5, 27–8, 154, 169–82, Becker, Friedhelm, 101 184–5, 187; Pl. 9 Beckett, Samuel (1906–89) Not I (1972–77), 3, 5, 26, 28, 34, Act Without Words (1957), 2 63–4, 81–93, 94, 96, 106, 108, ‘adaphatroce’, 66, 95 123, 143, 148, 184–5, 187–9, (1957), 172 192n.; Pl. 4 ...but the clouds... (aka …nur noch Ohio Impromptu (1981), 95 Gewölk…) (1977), 3, 5, 26–8, Play (aka Comédie; Spiel) (1963), 5, 62, 96, 99, 106–8, 119–20, 43, 63, 65–6, 68–70, 73, 82, 122–3, 138, 140–53, 154, 93, 188–9 161–2, 165, 169–70, 176–7, Proust (1931), 182 179, 184–5, 187, 192n.; Quad I (aka Quadrat I) (1981), 3, 5, Pl. 5, Pl. 6 28, 100, 103, 133, 138–9, 152, (1963), 94 154–68, 184–5; Pl. 8 Catastrophe (1984), 2, 95 Quad II (aka Quadrat II) (1981), 5, Comédie (film version of Play) (1966), 28, 100, 152, 154–5, 157, 162, 3, 5, 28, 63–4, 65–81, 84, 92–4, 165, 184 Index 215

Rockaby (1981), 52 duration, 6, 11, 13–16 Rough for Radio II (1961), 94 élan vital, 13–15, 37, 91 Text for Nothing (1945–50), 95 idea of ‘Nothing’, 7 Three Dialogues (1949), 120, 174 image, 6–8, 11, 18, 20 Unnamable, The (1953), 2–3, 135, and body, 18, 22 189, 190n. and brain as screen, 18, 22–3, 35 Waiting for Godot (1952), 42 and spectator, 20 (1953), 2–3, 72 instinct, 7, 14, 91 What Where (aka Quoi où; Was Wo) intuition, 6–7, 11, 14–16, 18, 91, (1984), 3, 5, 8, 28, 63–4, 68–9, 94, 98 93–106, 142, 146, 156, 162, Matter and Memory (1896), 7, 18, 173 184–5, 188–9; Pl. 10 memory, 11, 13–14, 20, 37, 98, 115, Words and Music (1962), 191n. 163, 189 ‘Beckett on Film’ series, 188, 191n. as matter, 123 see also Colgan, Michael; Maloney, and thinking, 37 Alan movement- image, 6, 17, 19 Beethoven, Ludwig van (1770–1827), multiplicity, 6, 16–17, 98 4, 123–4, 134–5, 137, 141, 162, qualitative (durational), 16–18 171–2 quantitative (spatial), 6, 16–17 Piano Trio in D Major, Opus 70, perception, 19, 20 No. 1 (‘The Ghost’) (1809), ‘Philosophical Intuition’ (1911), 7 123–4, 127, 134, 141, 162 spatial time, 6 Symphony No. 7 in A Major, Opus Time and Free Will (1889), 7, 16 92 (1812), 4, 134 time- image, 6, 17 Bellini, Giovanni (c. 1430–1516), 175 virtual, 14, 17; see also actual Bellour, Raymond, 21 Berkeley, Bishop George (1685–1753), Benjamin, Walter (1892–1940), 175 7, 42–4, 48–50, 52, 60, 112; Pl. 1 and aura, 175 and Bergson, 49 Bennent, Heinz (1921–2011), 109 esse est percipi, 42, 44, 48–50, 59, Benveniste, Émile (1902–76), 81, 88 115; Pl. 1; see also suture: agony ‘Subjectivity in Language’ (1958), 88 of perceivedness subject of enunciated, 89 ‘Principles of Human Knowledge, subject of enunciation, 88–9 The’ (1710), 48 Ben- Zvi, Linda, 116, 119 Bignell, Jonathan, 66, 109, 126, 154, Bergson, Henri (1859–1941), 6–7, 11, 178, 184, 186 13–20, 22–4, 30–2, 37, 49, 53, Billington, Michael, 95 84, 91, 98, 100, 115, 123, 162, Black Panthers, the, 34 164, 167, 173, 180, 189 body, 3, 6, 17–20, 23, 25–6, 28–9, 35, absolute time, 6 38, 48, 61, 63, 65, 73–4, 78, actual, 14, 17; see also virtual 80–1, 85, 89–92, 94, 101, 105, affect, 20 118, 124, 139, 141, 143, 149, aggregate of images, 6, 18–20, 115 163, 174, 177, 184–5, 189 and Beckett, 6–8 and collusion with mind, 143, 149 and Berkeley, 49 and embodiment, 174 and cinematographic, 17 and Figure, 105 concept, 20 and gest, 118, 120 Creative Evolution (1907), 7, 13, as image- sign, 90, 92 18, 24 and memory, 163 difference, 15 ontological, 80–1 216 Index body – continued Carrouges, Michel, 167 and primordial genesis, 81, 92 Les Machines célibataires (1954), 167 as spectre, 124 see also Deleuze, Gilles and split from mind, 177, 180 Guattari, Félix and violence, 105 Cave, Richard, 59–60 see also body- without-organs; Stoics: Cézanne, Paul (1839–1906), 105, 151 bodies: incorporeals Chabert, Pierre (1939–2010), 96, 189 body- without- organs (BwO), 39, 93, Chabrol, Claude (1930–2010), 191n. 136, 151, 164–5, 167 Madame Bovary, 191n. Bogue, Ronald, 3, 138, 164, 167 Chaplin, Charles (1889–1977), 42 Boje, Kornelia, 145; Pl. 6 chiaroscuro, 119–20, 142, 169 Bouchard, Norma, 47 Christian- Jaque (aka Christian Bragg, Melvyn (Lord), 187 Maudet) (1904–94), 66 brain, 14, 20, 22–3, 35, 81–4, 88, chronosign, 4, 33 90–1, 98, 151, 185 peaks of present, 94, 141, 181 and body, 83–4, 90–1, 185 sheets of past, 94, 141, 180–1 and duration, 14 see also crystal-image and screen, 22–3, 35 cine-structuralism, 18, 22 Brakhage, Stan (1933–2003), 6 Clark, David Rayner, 42–3, 56–62, Brater, Enoch, 45, 144 172, 190n. Brecht, Bertolt (1898–1956), 68, 140 Classic Hollywood Model (film Gestus, 117 narration), 21–2, 25, 29–30, 32 Verfremdunkseffekt, 140 Claudius, Matthias (1740–1815), 172 Bresson, Robert (1901–99), 132, 192n. ‘Death and the Maiden’ (poem), 172 British Broadcasting Corporation Clément, Bruno, 2 (BBC), 5, 73, 108–9, 123, 125, Cohn, Ruby, 88 127, 130, 132, 138, 143, 145–8, Colgan, Michael, 188 154, 170, 192n.; Pl. 4 see also ‘Beckett on Film’ series arts programming, 73, 109, 187 colour- image and colourism, 28–9, 61 BBC 1, 108, 187, 191n. concept, 17 BBC 2, 108, 123, 187, 191n. Conley, Tom, 41, 55–6 and Beckett, 108–9, 154, 187–8 Copenhagen Business School, 162 ‘Lively Arts Series’, 108, 123, 187 Correggio, Antonio da Shades TV programme, 75, 108, 123, (1489–1534), 175 143, 148, 187 crystal- image (hyalosign), 4, 35–6, ‘Twenty- four Hours: Round the 100, 181, 190n. Clock and Round the World’ crystalline cinema, 31–2 TV programme, 109 peaks of present, 35 British Film Institute (BFI), 42, 190n. sheets of past, 35, 100 Browning, Robert (1812–89), 191n. see also actual; chronosign; virtual ‘Rabbi Ben Ezra’ (1864 poem), 191n. Bryden, Mary, 172 Dada, 7 Buñuel, Luis (1900–83), 25, 45 Dalí, Salvador (1904–89), 45 Un Chien Andalou, 45 Un Chien Andalou, 45 Burch, Noel, 29; see also action-image Dante Alighieri (c. 1265–1321), 103, Burrows, Rachel, 6 124, 148, 156, 171, 173, 188 Divine Comedy (c. 1307–21), 103, Cahiers du Cinéma, 47 171, 173 Carrière, Mathieu, 139 Dayan, Daniel, 47 Index 217 dehiscence, punctuation of, 4, 31, 34, Descartes, René (1596–1650), 89 134–5, 162, 171, 184 and Lacan, 89 Delaney, Shelagh (1938–2011), 186 De Sica, Vittorio (1901–74), 30 Charley Bubbles, 186 desire, 21 Deleuze, Gilles (1925–95) see also Deleuze, Gilles and Cinema 1: The Movement- Image, 5–6, Guattari, Félix: desiring 19, 23–4, 31, 50, 189 machine Cinema 2: The Time- Image, 4–6, deterritorialization, 1, 5, 20, 31, 61, 10–11, 30–1, 99, 189, 190n. 77, 88, 92, 108, 138–9, 151, ‘Coldness and Cruelty’, 122 164, 180 ‘Exhausted, The’ (‘L’Épuisé’), 1–2 Devine, George (1910–66), 65, 70 Fold, The, 140 dialectic, 15–16, 18, 26, 28, 31–2, ‘Greatest Irish Film, The’, 41, 44 110, 139 Logic of Sense, The, 8 dialoghorrhea, 3, 76, 80–1, 83, 85–6 see also Guattari, Félix Dienst, Richard, 20 Deleuze, Gilles and Félix Guattari, 1, différance, 15 5, 13, 55, 92, 105–6, 119, 138, difference, 10, 12, 15–16, 20, 34, 37, 158, 162, 164–8 190n. Anti- Oedipus, 5, 165 in degree, 16–17 desiring machine, 158, 164, in kind, 16, 18 167, 176 see also Bergson, Henri: multiplicity ‘Faciality’, 92 Direct Realism, 22 Kafka: Towards a Minor Literature, 1 see also Peirce, Charles Sanders: machine célibataire, 158, 164, 167; firstness see also Carrouges, Michel doppelgänger, 119, 129, 173 nomadism, 13, 138, 165, 167 Douglas, Stan, 48, 50, 145–6 non- human becoming, 55 dream, 27–8, 32, 39, 100, 125, 136, ‘Smooth and the Striated, The’, 165 153, 169–71, 173–82 smooth and striated space, 138, and anamorphosis, 180 140, 165, 180, 187; see also and failure of memory, 173 any- space-whatever implied and explicit, 180 Thousand Plateaus, A, 5, 165 and insomnia, 176–8, 180 war machine, 138–9, 151, 164–5 as machine, 176 What is Philosophy?, 55, 105 as succour, 170, 174 depotentialization, 133 dream- image (onirosign), 172, 180 see also potentialization and movement of world, 172, 180 Derrida, Jacques (1930–2004), 124, 183 Dreyer, Carl Theodor (1889–1968), 28 La Dissémination (1972), 183 Dubuffet, Jean (1901–85), 66 spectral, 124 Matériologies, 66 see also virtual Duchamp, Marcel (1887–1968), de Sade, Marquis (1740–1814), 120, 152, 167 136, 146 Bride Stripped Bare by Her Bachelors, and description/demonstration, 120 Even, The (aka The Large and negation (Death instinct), 120–1 Glass), 167 120 Days of Sodom, The (1785), 120 Nude Descending a Staircase, 152 and superego, 121–2, 146 Duras, Marguerite (1914–96), 31, 43, and tabulation, 120 66, 133, 186, 192n. see also Freud, Sigmund; India Song, 133 Sacher- Masoch, Leopold von Nuit noire, Calcutta, 66 218 Index

Dürer, Albrecht (1471–1528), 175 film semiology, 6 Duthuit, Georges (1891–1973), 151 Flaubert, Gustave (1821–80), 7 Duvivier, Julien (1896–1967), 66 Fletcher, Beryl, 73, 161 Fletcher, John, 43, 58, 73, 161 Edinburgh Festival, 95 focalization, 44, 50 edit (splice), 24, 34, 55 see also point- of-view see also interstice Ford, John (1894–1973), 29 Egyed, Bela, 10, 12 Man Who Shot Liberty Valance, The, 29 Eisenstein, Sergei (1898–1948), 26, formlessness, 2 31, 39 Foron, Helfrid, 170; Pl. 9 montage of attractions, 26, 39 Först, Irmgard, 109, 123 Elam, Keir, 82 Forsythe, Henderson, 82 El Greco (1541–1614), 175 Forum Theater, Lincoln Center, encompasser, 30, 67, 191n. New York, 82 enunciation, 4, 21 Foucault, Michel (1926–84), 86 Epstein, Jean (1897–1953), 26 discursive regime, 86 Essif, Les, 78 Frampton, Hollis (1936–84), 6, 185 Esslin, Martin (1918–2002), 70, 145, Poetic Justice, 185 154, 187 free indirect discourse, 27, 50–1, 61, event, 2, 5, 8–12, 17, 24, 31, 40–1, 45, 126, 192n. 55–6, 61–2, 65, 81, 94, 105–7, see also Pasolini, Pier Paolo: 117, 151, 161–2, 183, 185–6 ‘The Cinema of Poetry’ see also, Badiou, Alain: event French New Wave, 43, 66 Evergreen Theatre, New York, 42 French Revolution, 10 exhaustion, 1–3, 42, 55, 62, 66, 69, Freud, Sigmund (1856–1939), 20, 98, 80, 108, 132, 136, 143, 149, 123, 136, 164, 174 161, 176–7, 185 and cathexes, 164, 167 compared to tiredness, 1–2 ‘ Fort- Da Game’, 174, 177 and insomnia, 176–7 Oedipus Complex, 107, 111, 117, 120–1, 136, 167; see also Sacher fabulation, 3, 8, 106–7, 113–14 Masoch, Leopold von: Oedipal faciality, 5, 92, 117, 119, 174 mother white wall/black hole, 92–3, 119 phallocentrism, 107 see also Deleuze, Gilles and sensory- motor apparatus, 20 Guattari, Félix superego, 111, 122 false movement, 11, 30, 34, 55, 61, 176 Freund, Peter, 113 Fehsenfeld, Martha, 103, 156 Futurism, 152 Feil, Matthias, 123 Feydeau, Georges (1862–1921), 67 Gance, Abel (1889–1981), 26 Fichte, Johann Gottlieb gaze, 20–1, 46–8, 60, 81, 99, 179 (1762–1814), 22 interior compared to exterior, 179 figuration, 105, 151, 189 German Expressionism, 26, 28, 119 see also Figure German Romanticism, 172 Figure, 32, 81, 105, 150–2, 162 Gestapo, 97 and flesh, 82, 151 Gibson, Alan, 108 and sensation, 81, 105, 151 Gibson, J.J., 22 see also abstraction; Bacon, Francis; Gide, André (1869–1951), 6–7 figuration Global Village, 96, 154, 165; Pl. 8, film noir, 28, 30 Pl. 10 Index 219

Godard, Jean-Luc, 25, 29, 31, 33, 34, Hodeir, André (1921–2011), 58 55–6, 61, 191n. Horder, Rupert, 123 One Plus One, 34 Huillet, Danièle (1936–2006), 43, 133 Pierrot le fou, 33 and prénom, 56 Idealism, 18, 22, 24 Sauve qui peut (la vie), 191n. see also Peirce, Charles Sanders: Weekend, 33 secondness Gontarski, Stanley E., 7, 63, 96–7, Illig, Nancy, 109, 118 104, 109, 155, 171 image, 2–4, 6, 8, 11–12, 18, 21–4, 30, What Where II (revised script), 96 55, 62, 65–6, 74, 81, 86, 93–4, Goolden, Richard, 59 98, 105, 108, 113–14, 117–19, Gossaert, Jan (1478–1534), 175 121, 124, 133, 135–6, 138, 141, The Agony in the Garden (c. 1510), 175 143–4, 146, 148–52, 154, 161, Griffith, D.W. (1875–1948), 25 173–4, 177, 179–81, 184–6; see parallel montage, 25 also Bergson, Henri: image Grindea, Miron, 172 aggregate of images, 4, 33, 98, 124, Grove Press, 42 181; see also Bergson, Henri: Guardian, The, 95 aggregate of images Guattari, Félix (1930–92), 165–6 as being, 105 abstract machine, 108, 166, 184 and body, 74, 117–18; see also autopoietic machines, 165, 167 Barthes, Roland Chaosmosis, 165 and impersonality, 107–8; see also machinic compared to mechanism, intentionality 165–6 and latency, 124 and transversals, 166 making of, 107, 130–2, 140, 144, see also Deleuze, Gilles 149–50, 152–3, 173, 176, 178, Gunter, Pete, 13 184, 189 Gussow, Mel (1933–2005), 97 and movement of world, 180 and the non- human, 138 Harold Clurman Theater, New York, 95 and the non- subjective, 132, 154 Harrison, Nell, 47 as speech acts, 161 Heath, Stephen, 47 and thought, 36–7 Hegel, Georg Wilhelm Friedrich as utterable, 22 (1770–1831), 15, 36 immanence, 3, 6, 10–12, 15, 17, 23, and recognition, 36 25, 30–2, 34, 55–6, 63, 68, 136, Heidegger, Martin (1889–1976), 37–8 139, 162 ‘What is Called Thinking?’ (1954), 37 see also plane of immanence; Herm, Klaus, 109, 113, 119–20, 123, transcendence 145, 186, 191n.; Pl. 2, Pl. 5, impulse, 29 Pl. 7 Independent Television (ITV), 187 Herren, Graley, 48–9, 69, 74–5, 77, intensities, 6, 31, 37, 91–4, 101, 119, 93–4, 110, 114, 117, 120, 123–4, 150, 161–2, 167, 178 154, 162, 170, 173, 175–6 intentionality, 3, 6, 8, 11, 21, 23, 82, heteroglossia, 61 107–8, 123, 130, 133, 140, 152, hiatus, 4, 64, 98, 134–5, 139, 162 171, 184–5, 189 Hirt, Eléonore, 65, 77 see also image: and impersonality; Hitchcock, Alfred (1899–1980), 21, depotentialization 33, 186 International Deleuze Conference, Frenzy, 186 Copenhagen (2011), 162 220 Index interstice, 4, 11, 31, 34, 46, 55–6, chora, 87 61–3, 92, 178, 185 semiotic, 87 see also edit; montage intertext, 173–5, 184, 186 Lacan, Jacques (1901–81), 21, 89, 91, interval, see movement-image 98, 129 intuition, 12, 19 Imaginary, 21, 89, 129–31, 141 see also Bergson, Henri Name of the Father, 91, 107 Ionesco, Eugene (1909–94), 42 Real, 89 Hard Boiled Egg, 42 Symbolic, 89, 130–1, 141 Italian Neorealism, 28, 30, 33 language I, 2–3, 64, 85 language II, 2–3, 64, 85, 107, 148 Jacquot, Benoit, 43 language III, 2–4, 41, 56, 64, 93, James, William (1842–1910), 22 135, 141 Janov, Arthur, 118 Laughlin, Karen, 87 jouissance, 146, 152 Lawley, Paul, 69, 172 Joyce, James (1882–1941), 1, 39, 103 Laws, Catherine, 134–5 lectosign, 33 Kafka, Franz (1883–1924), 1, 5, 99, Léger, Fernand (1881–1955), 66 116, 162, 167, 177 Ballet mécanique, 66 ‘Penal Colony, The’ (1919), 99, 167 Lek, Suzanne, 154, 165; Pl. 8 Trial, The (1925), 162, 177 Lerbs, Frank, 101 see also Minor Literature Lewis, Gary, 191n. Karen, James, 47 Lewis, Jim, 101–2, 123, 156, 173, Karmitz, Marin, 5, 28, 65–6, 68, 70–1, 175, 191n. 73–80, 101, 157, 191n. L’Herbier, Marcel (1888–1979), 26, 66 and collage techniques, 77, 101 Libera, Antoni, 170, 192n. Coup pour coup, 191n. lines of flight, 4, 13, 92, 101, 138, Katz, Daniel, 147–8 140, 150–1, 155, 162, 165 Kaufman, Boris (1906–80), 46 L’Institut des hautes études Kaufman, Mikhail (1897–1980), 46 cinématographiques (IDHEC), Kaun, Axel, 4, 22, 134 66 Keaton, Buster (1895–1966), 28, 41–6, Locatelli, Carla, 189 51–5, 57, 66, 109–10, 178, 180, logic of sensation, 8, 11, 61, 78, 105, 191n.; Pl. 1 141, 158 Cameraman, The, 191n. and hapticity, 105, 151 Sherlock Jr., 180 see also Figure Kedzierski, Marek, 95 logic of sense, 31–2, 65, 78, 103–5 Kies´lowski, Krzysztof (1941–96), 191n. see also Stoics: sense: Nature, Three Colours Trilogy, The, 191n. Phantasia Klaver, Elizabeth, 98, 100–1, 157 Logocentrism, 81, 86, 90, 140, 151, 176 Kleist, Heinrich von (1777–1811), see also anti-Logos 136–40, 143, 152, 165, 184 Lonsdale, Michel, 65, 67, 77, 186 marionettes and dramatic Lutterbie, John, 89, 191n. performance, 137–40, 143, 152, 186 MacGowran, Jack (1918–73), 42, 86, ‘On the Marionette Theatre’ 109, 113, 117–19, 155, 186 (1810), 137 machinic, 5, 13, 32, 77, 92, 99, 108, Knowlson, James, 138 157, 162, 164–5, 167, 181 Kristeva, Julia, 87 compared to mechanical, 164 Index 221

see also Guattari, Félix: abstract Metz, Christian (1931–93), 18, 21 machine, autopoietic machines grand syntagmatic, 18 MacLaren, Margaret, 108 utterance, 18 Magic Theater, 96 Miller, Jacques- Alain, 47 Maloney, Alan, 188 mindscreen, 102 see also ‘Beckett on Film’ series Minghella, Anthony (1954–2008), 188 Mantegna, Andrea (c. 1430–1506), 175 Play (‘Beckett on Film’ version), 188 Marker, Chris, 34 Minor Literature, 1, 5, 168 Jetée, La, 34 see also Kafka, Franz Martin, Jean- Clet, 179 mise- en-abyme, 93, 127, 181, 187 masochism, 120–3, 136, 146 mise- en-scène, 50, 63, 71, 75, 80, 94, see also Sacher- Masoch, Leopold von 96, 117, 124–6, 133–4, 142, 144, Massumi, Brian, 164 162, 164, 175, 180, 185–6, 188–9 Maude, Ulrika, 91 Modernism, 126, 189 McCarthy, Joseph (1908–57), 97 Moholy- Nagy, László (1895–1946), 66 McGinley, Sean, 191n. Lightplay: Black- White-Grey, 66 McLuhan, Marshall (1911–80), molecular, 13 93, 178 montage, 19, 21, 24–5, 33–4, 40, 46, cool medium (television), 93, 178–9 74, 180 hot medium (film), 178–9 associative, 25 McMullan, Anna, 95–6, 98 of attractions, 26 McWhinnie, Donald (1920–87), continuity editing (causal 75, 123 montage), 34, 56 Melchinger, Siegfried, 116 Dialectic Trend: The Soviet School, 26 memory, 20, 36, 52, 63, 85, 90–1, Intensive, Spiritual Trend: The 93–4, 98–103, 105–6, 108, 110, German School, 26 113–15, 143, 173–4, 179, and montrage, 33, 61 181–2, 184, 186, 189, 190n. Organic Trend: The American Being- memory, 181 School, 25 and forgetting, 181 parallel montage, 25 ‘playing’ field of, 63, 93, 97, 100–3, Quantitative Trend: The Pre- War 123, 125, 129–30, 142–3, French School, 26 146–9, 158, 162, 164, 181, 183, and simultaneity, 14 188; Pl. 10 see also false movement; interstice as self- interrogation, 93, 105 Moore, Julianne, 188 as sensory- motor machine, 20 Morgner, Dirk, 170 as world, 99 Mostel, Zero (1915–77), 42 see also Bergson, Henri; Proust, mourning, 148 Marcel: involuntary memory, movement- image, 19–26, 30, 32, 35, voluntary memory 39, 41–2, 46, 53–6, 61, 76, 80, memory- image, 99 180, 184–5 Mendel, Deryk, 69, 109, 113, 117, as indirect image (differentiated), 119; Pl. 3 23–4 mental- image, 32–3, 40, 64, 68, 78, and Interval, 21, 24, 26, 31, 35, 37, 80–2, 95, 102, 106, 108, 140, 46, 55 143, 149, 157, 181, 185 as primal matter (undifferentiated), see also relation 23–4, 41–2, 54, 62, 184 Merlin, Monica, 59 and Whole, 21, 23, 25–6, 34 Method acting, 140 and ‘worldizing’, 180 222 Index

Mullarkey, John, 11 objective correlative, 172 Müller, Wilhelm (1794–1827), 172 O’Donnell, Damien, 188, 191n. Winterreise (1824 poems), 172 What Where (‘Beckett on Film’ Mü ller- Freienfels, Reinhart, 174, 188 version), 188, 191n. multiplicity, 9–10, 15–16, 20, 34, 54, Office de Radiodiffusion-Télévision 139, 185, 190n. Française (ORTF), 71, 109, 118 see also Bergson, Henri ORTF Research Unit, 71 music, 5, 56–7, 59, 61, 127–30, 132, Old Vic Theatre, London, 65, 70 134, 136, 138, 140–1, 156–7, opsign, 6, 33, 61–2, 180 169, 171–3, 178, 184, 189 see also sonsign diegetic, 56, 127–8, 135 Orwell, George (Eric Blair) and image, 136, 178 (1903–50), 188 and interval, 4, 127, 130, 135–6, 138 Nineteen Eighty- Four (1949), 188 and marionette theatre, 138 O’Sullivan, Simon, 163–4, 167 non- diegetic, 56, 61, 127, 169 ‘ Anti- Oedipus and the Production and silence, 4, 134–6, 178 of the Subject’, 163 and subjectivity, 130, 135, 140 Oudart, Jean- Pierre, 47 see also Beethoven, Ludwig van; Schubert, Franz painting, 171, 173, 175 Muybridge, Eadweard Parry, Idris, 138 (1830–1904), 152 Pasolini, Pier Paolo (1922–75), 50 ‘Cinema of Poetry, The’ (1965), 50 narration, 21–2, 24, 33, 80, 82, 85–6, see also free indirect discourse 93, 98, 105, 115, 119, 124, 144 Pavillon de Marsan (Louvre, Paris), 65 and clichés, 33, 76, 79 Peirce, Charles Sanders (1839–1914), and form, 124 18, 22, 30, 32, 64 iterative voice, 63, 111, 144 firstness, 22, 24, 35, 41; see also National Gallery (), 175 Direct Realism National Gallery (London), 175 secondness, 22, 24, 35; see also Naturalism, 7, 57, 119, 151 Idealism New York Times, 39 thirdness, 22, 32, 64; see also New York University, Bobst semiology Library, 191n. perception, 6, 14, 17, 20–1, 23, 27, Nietzsche, Friedrich (1844–1900), 33, 37, 42, 44, 46–9, 52–5, 59, 10, 14, 31–2, 35–6, 38, 89, 61, 65, 76, 80, 98, 103, 106, 181, 190n. 110, 112, 115, 117, 124, 128, becoming, 10, 14–15 151, 157–8, 171, 186 difference and repetition, 15, 35 and machinic, 46 eternal return, 15, 31, 35, 164, as memory, 98 190n. compared to percepts, 55, 106 and powers of the false, 181; see as selection/subtraction, 20, 23, also false movement 115, 123 will to power, 15, 36, 190n. see also Bergson, Henri; nomadism, 5, 13, 165, 173 perception- image; percepts non- relation, 9, 22, 81, 94, 150–2, perception- image, 21, 24–7, 41, 45, 51, 160–1, 184 54, 60, 73, 75–6, 81, 109, 117, see also relation 123, 128, 130, 180, 184, 188 noosign, 33 percepts, 55, 106 nouveau roman, 66 see also perception Index 223 performance, 117, 124, 132, 140, Pritz, Stephan, 170 143–4, 146, 156–7, 165, 184, Proust, Marcel (1871–1922), 6–7, 84, 186, 189 90–1, 106, 115, 130, 140, 144, and expression, 140 177, 190n. and figurality, 189 À la recherche du temps perdu and gest, 117–20, 162, 189 (1913–27), 90 and intertextuality, 186 habit, 84, 130, 143, 145, 173, and literality, 189 177, 190n. as meta- text, 157 involuntary memory, 84, 94, 106, and univocity, 140, 165 162, 190n. see also Brecht, Bertolt: Gestus; voluntary memory, 84, 94, 99, 106, Kleist, Heinrich von: 115, 143–4, 162, 173, 190n. marionettes see also Bergson, Henri: memory Perini, Luc, 66, 71, 101 Perlmutter, Ruth, 43 Racine, Jean (1639–99), 6 phenomenology, 73, 90, 152 Rainford, Lydia, 23, 41, 62, 147 Phillips, Siân, 109, 118 Ravel, Jean, 66 Philosophical Congress, Bologna, 7 Realism, 18, 29–30, 67 Pickup, Ronald, 123, 137, 143, 186 see also action- image; encompasser Pilling, John, 138 recollection- image (mnemosign), Pinter, Harold (1930–2008), 42, 147 100, 180 Basement, The (unpublished, Reid, Alec, 85 1963–65), 42 Reilly, John, 96 Compartment, The (1965), 42 relation, 22, 32–3, 81, 86, 94, 97, plane of consistency, 136 104–5, 140, 146, 151–2, 160–1 plane of immanence, 4, 20, 23, 54, see also mental- image; non-relation 98, 101, 181 Rembrandt van Rijn (1606–69), 169 see also immanence Renaud, Madeleine (1900–94), Plato (c. 423 BC–c. 348 BC), 11, 109, 118 16, 176 repetition and difference, 94, 98 and copy, 176 representation, 6, 18, 20, 22, 24, 35, Ideas, 176 65, 68, 81, 91–2, 98, 104–5, philosophy of the One, 11 108, 132, 141, 149, 151–2, 158, and simulacrum, 176 164, 173, 175 teleology, 16 see also presentation point- of-view, 44, 47–8, 56, 59–61, Resnais, Alain, 31, 34 125, 128, 130–2, 179, 192n. Last Year at Marienbad, 34 see also focalization Reynolds Gallery, Anthony, 73–4, 187 Polanski, Roman, 186 rhetoric, 82 possible, the, 1–2 rhizomic, 1, 3, 11, 13, 31, 39, 92, postmodernism, 175, 189 101, 157 potentialization, 133, 161–2 Rimbaud, Arthur (1854–91), 7, 103, Pountney, Rosemary, 57, 159, 165, 105, 122, 156, 160 191n. ‘Ravings II: Alchemy of the Powell, Dilys (1901–95), 73 Word’, 103 presentation, 6, 22, 24, 35, 65, and synaesthesia, 103, 160 105, 152 ‘Voyelles’ (1871), 103, 122, 156, 160 see also representation ritornello, 124, 155, 161, 178; Pl. 8 Prieto, Eric, 174 Rivière, Jacques (1886–1925), 38 224 Index

Robbe- Grillet, Alain (1922–2008), Schopenhauer, Arthur (1788–1860), 31, 43 49, 174 Rolling Stones, The, 34 and the noumenal, 174 ‘Sympathy for the Devil’ World as Will and Representation, (song), 34 The (1819), 49 Romanticism, 7, 135 Schubert, Franz (1797–1828), 56–7, Roots (TV miniseries), 187 59, 61, 169–72, 177–8 Ropars- Wuilleumier, Marie- Claire ‘Death and the Maiden’, D. 531 (1936–2007), 22, 31 (1817 lied), 57, 172 Rossellini, Roberto (1906–77), 30 ‘Doppelgänger, Der’, D. 957 Rosset, Barney (1922–2012), 42 (1828 lied), 56–7, 61, 172 , London, 75 ‘Nachtstück’, D. 672 (1819 lied), 172 Royal Shakespeare Company, 42 ‘Nacht und Träume’, D. 827 Russell, Catherine, 131, 179 (1825 lied), 169–71, 173 Russell, Ken (1927–2011), 186 String Quartet No. 14, D. 810, ‘Death Russian Formalism, 67–8 and the Maiden’ (1824), 172 fabula, 67, 82, 84 Winterreise, D. 911 (1827 song syuzhet, 68, 84 cycle), 172–3 Schwab, Martin, 46 Sacher- Masoch, Leopold von scopophilia, 75 (1835–95), 122, 140 scopophobia, 43, 51–2 aestheticism, 121 semiology, 7, 18, 22, 160–1 asexual ‘new man’, 121–2 Quad as form of, 160–1 contract, 121 and speech acts, 161 disavowal, 121–2 see also Peirce, Charles Sanders: fantasy, 121, 136, 140, 146 thirdness mother, 107, 122, 136, 146 semiotics, 18, 20–2, 82, 89, 92–3, hermaphroditic, uterine, 122, 146 97–8, 157, 166 Oedipal, 107, 122, 146 and shifters, 89–90 oral, 107, 122, 136, 146 Sennett, Mack (1880–1960), 43 parthenogenetic rebirth, 107, 122–3 Keystone Kops, 43 supersensuality, 122, 136 sensation, 55, 81–2, 84, 90, 100, 103, Venus in Furs (1870), 122 105–6, 151–3, 180 see also de Sade, Marquis; Freud, and Being, 106 Sigmund and monument, 106 sadism, 122 and rhythm, 105 see also de Sade, Marquis see also logic of sensation Saussure, Ferdinand de (1857–1913), sensory- motor schema, 21, 24, 30, 33, 18, 22, 81 35, 45, 54–5, 61, 163–4 langage, 21 Serreau, Jean- Marie (1915–73), 65, langue, 21 67, 87 parole, 18, 22, 133 Seyrig, Delphine (1932–90), 65, 77, 186 Schelling, Friedrich Wilhelm Joseph Shakespeare, William (1775–1854), 22 (1564–1616), 192n. schizo-analysis, 5, 92, 117 Hamlet, 30, 34, 192n. schizo- assemblage, 108 Macbeth, 123 Schmid, Herta, 160 Shenker, Israel (1925–2007), 39, 184 Schneider, Alan (1917–84), 42–3, 50, Sierz, Aleks, 188 52, 56, 58–60, 62, 64–5, 68, 70, silence, 3, 138, 190n. 82, 86, 95, 115, 117; Pl. 1 see also music: and silence Index 225 silent cinema, 43, 46, 56 bodies, 8–11, 102; see also Stoics: Silverman, Kaja, 47 incorporeals simulacrum, 21, 30, 32, 36, 171, causes and effects, 8, 10, 14, 65, 175–6, 178–9, 181, 184 102, 105 and cinema, 32 images and events, 8–12 and copies, 175–6 incorporeals, 8–10, 12, 31, 65, 104, and madness, 179 183; see also Stoics: bodies and Other, 176, 179 sense: Nature, 103–4 and television, 175, 178–9, 181, 184 sense: Phantasia, 103, 105–6 see also Plato time of Aion, 8–10, 14, 24, 31–2, Smith, Daniel, 105 36, 42–3, 55, 62, 94, 99, 181 smooth and striated space, 5, 94 time of Chronos, 8–9, 14, 32, 94 see also any- space-whatever; Deleuze, Straub, Jean- Marie, 43, 133 Gilles and Guattari, Félix Structuralist cinema, 185 Snow, Michael, 185 subject formation, 131 Wavelength, 185 Süddeutscher Rundfunk (SDR), 5, 73, Softly, Softly (TV series), 186 96, 100, 102, 109, 119, 123, Solov, Sandra, 175 127, 130, 132, 143, 145–7, 149, sonsign, 6, 61–2, 85, 130, 180 154, 161, 165, 170, 173–4, 187, see also opsign 192n., 193n.; Pl. 2, Pl. 3, Pl. 5, sound, 3–4, 6, 20, 22, 43, 47, 56–62, Pl. 6, Pl. 7, Pl. 9 66, 71, 74, 76–7, 85–6, 101, Sunday Times (London), 73 103–4, 114, 119, 130–3, 138, Surrealism, 45 155, 157, 180, 189, 192n. suture, 6, 21, 43, 47, 51, 54, 74, 99, diegetic, 56–8, 130 130–1 and image construction, 131 and the acentred subject, 54 non- diegetic, 56, 59, 133 agony of perceivedness, 44, and subjectivity, 59–60, 111, 46–8, 51 130, 131 angle of immunity, 44, 46–7, 51 see also sonsign and scopic regime, 44–6 South Bank Show, The (TV series), 187 shot- reverse shot editing, 44, 48, spectatorship, theories of, 20 99, 130 Spinoza, Baruch (1632–77), 1, 6, 11, see also Berkeley, Bishop George: 18, 37, 91, 136, 139, 185 esse est percipi conatus, 91, 136 Symbolism, 7 expression, 139–40 synaesthesia, 103, 160 speeds and slownesses, 6, 161 see also Rimbaud, Arthur substance, 139 Synthetic Cubism, 152 third level of knowledge, 18, 185 univocity of being, 10, 139–40 Tandy, Jessica (1909–94), 82 spiritual automatism, 19, 32, 38–9 teleology, 2–3, 6, 11, 13, 157, 165, as haunting, 39 172, 183, 185 split subject, 48, 61, 63, 85, 87–9, Teletubbies (TV series), 158 109, 179 television, 5, 39, 59, 74, 95, 100–1, Spurling, John, 43, 58 119, 125, 130, 142, 144, 147, Stalin, Joseph (1878–1953), 97 157, 162, 171, 173, 175, 177–8, Stevenson, Robert Louis (1850–94), 45 181–2, 184–5 Stewart, James (1908–97), 29 apparatus, 39, 101–2, 108, 111, 114, Stoics, 8, 14, 102–3, 105 119, 130, 157, 162, 171, 175, being and extra- being, 10 178–80, 186 226 Index television – continued van Velde, Bram (1895–1981), 151 audience numbers, 187–8 Varda, Agnes, 66 authorial branding, 187 Cleo from 5 to 7, 66 as cool medium, 178–9; see also Venice Biennale, 73 McLuhan, Marshall Venice Film Festival, 73 early TV and live broadcasting, 74, Vertov, Dziga (1896–1954), 6, 27, 126, 186 46, 55 as event, 11, 62, 178 Kino- Eye, 27, 46 as minority language, 108 Man With a Movie Camera, The, as nomadism, 5 27, 46 ‘Peephole Art’, 4–5, 12, 101, 143 Viola, Bill, 6 as plane of immanence, 181 Virgil (70–19 BC), 156 programming tendencies, 73, 109, virtual, 10, 12, 18–19, 28, 31, 33, 35, 154–5, 187 81, 100, 107, 124, 127, 143, reception of Beckett’s television 153, 186 oeuvre, 185–8 as spectral, 124, 127, 136, 148, self-reflexivity, 111, 119, 125, 162–3, 166–7, 171, 180–1 157–8, 186 see also actual; crystal-image see also BBC; ITV; SDR Voigts- Virchow, Eckart, 158 thallic, 190n. and the aisthetic, 158 Theatre Centre ‘Warsztatowa’, von Collin, Matthäus Casimir 170, 192n. (1779–1824), 171 Théâtre du rond- point, Paris, 96 ‘Nacht und Träume’ (poem), 171 thought, 19, 32, 36, 61, 65, 78, 81–2, 90 and sensibility, 37 Wall, Max (1908–90), 42, 56 and shock, 19, 38–40 Wardle, Irving, 95 and the unthought/unthinkable, Wayne, John (1907–79), 29 32, 36–7, 65, 80–1, 89 Welles, Orson (1915–85), 31, 100 see also Artaud, Antonin; spiritual Citizen Kane, 100 automatism Wenders, Wim, 190n. time- image, 4–5, 10, 24, 27, 30, 32, Falsche Bewegung, 190n. 34–5, 55–6, 61–3, 94, 100–1, Whitelaw, Billie, 82, 85, 87, 109, 113, 139, 162, 180–1, 184–5, 189 118–20, 123, 145, 156, 186, and affect, 139 191n.; Pl. 4 and simultaneity, 26–7, 57 Times, The (London), 95 Yeats, William Butler (1865–1939), Tophoven, Erika, 193n. 141, 145, 147–8, 153 transcendence, 174 memory as conjuration, 141 see also immanence old age and death, 141, 148–9 Trinity College, Dublin, 6 ‘Tower, The’ (1928 poem), 141, 145, 150, 153 Uhlmann, Anthony, 6–9, 12, 22, 35, and haunting, 147 49–50, 65, 103, 105, 139–40 Ulmer Theatre (Ulm- Donau, Z- Cars (TV series), 186 Germany), 65, 68–9 Zilliacus, Clas, 94, 114 University of London Audio- Visual Zinnemann, Fred (1907–97), 186 Centre, 42 Day of the Jackal, 186