Universität Wien
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180217 KU Deleuze/Peirce/Bergson (2020W)

Movement-Image and Time-Image

5.00 ECTS (2.00 SWS), SPL 18 - Philosophie
Continuous assessment of course work


Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).


max. 25 participants
Language: German


Classes (iCal) - next class is marked with N

Monday 12.10. 18:30 - 20:00 Digital
Monday 19.10. 18:30 - 20:00 Digital
Monday 09.11. 18:30 - 20:00 Digital
Monday 16.11. 18:30 - 20:00 Digital
Monday 23.11. 18:30 - 20:00 Digital
Monday 30.11. 18:30 - 20:00 Digital
Monday 07.12. 18:30 - 20:00 Digital
Monday 14.12. 18:30 - 20:00 Digital
Monday 11.01. 18:30 - 20:00 Digital
Monday 18.01. 18:30 - 20:00 Digital
Monday 25.01. 18:30 - 20:00 Digital


Aims, contents and method of the course

This course serves as an introduction to the two very influential books Cinéma 1: L’Image-Mouvement [1983] and Cinéma 2: L’Image-Temps [1985] by the French philosopher Gilles Deleuze (1925 to 1995).

Deleuze understood his work in these books as a conceptual practice classifying ideas that are embodied in the medium of film, the “ideas of cinema”. The aim of this taxonomy is to make image-types and cinematic signs accessible to theoretical thinking. For us, Deleuze’s taxonomy of film raises questions such as: How do we perceive the world? How can the phenomenon of time be represented? What is memory and how can the experience of memory be translated into film? - Is e. g. a flashback a genuinely cinematic means of narration or a mere convention copied from literary texts?

Reading Deleuze is not easy: Among other things, because Deleuze refers to the works of Charles S. Peirce and Henri Bergson, but uses these works in a rather unconventional way. Deleuze sees philosophy as a creative activity, comparable to art, only that philosophy creates concepts instead of producing paintings, novels, musical compositions or films. The course will therefore focus on relevant differences (e.g., that between Peirce’s theory of signs and Deleuze’s use of signs).

For the most part, Deleuze deals with films that fall under the label of “art house cinema”. Can his concepts and taxonomies also be of use for a discussion of contemporary genre films?

Goal: Introduction to the terminology of Deleuze and discussion of his creative approach to the history of philosophy based on his works on cinema.

Assessment and permitted materials

Your online attendance is part of your final grade, you will be expected to hand in short written papers and participate in class discussions that take place in Moodle (via Collaborate).

Minimum requirements and assessment criteria

Erasmus+ students beware: This course is taught in German! You may write your assignments in English or French, but must be prepared to discuss matters in German, since most of your colleagues in the group will be German speakers.
70% of your final grade will be based on seven short written assignments, 30% are based on your participation in class discussions and your regular online attendance. I will expect you to follow my style-sheet for any written homework.
By registering for this course, you tacitly agree to having all your electronic submissions checked by Turnitin.

Examination topics

This is a course (= KUrs), thus no final exam.

Reading list

Secondary texts will be supplied via Moodle. Our primary texts for this course are:

Deleuze, Gilles: Das Bewegungs-Bild / Kino 1. Frankfurt: Suhrkamp, 1997.
Deleuze, Gilles: Das Zeit-Bild / Kino 2. Frankfurt: Suhrkamp, 1997.

Relevant supplementary literature:
Bergson, Henri (2015): Materie und Gedächtnis. Hamburg: Meiner.
Deleuze, Gilles (1997): Differenz und Wiederholung. Zweite, korr. Auflage. München: Fink.
Peirce, Charles S. (1998): The Essential Peirce, Vol. 2. Hg. vom Peirce Edition Project. Bloomington u. Indianapolis: Indiana Univ. Press.

Association in the course directory

Last modified: Fr 12.05.2023 00:18