TIME–IMAGE ATLASP4 THEATER · DELEUZE
中文
SCHOLAR MAP / VERIFIED SAMPLE

An open research community

The current verifiable sample contains 75 researchers across English-, French-, German-, Italian-, Spanish-, Portuguese-, Chinese-, Japanese-, and Korean-language contexts. The sample expands through explicit inclusion criteria.

Inclusion baseline: monograph, sustained work across years, explicit reconstruction or critique, or an influential new concept—at least two criteria.
30—50operational estimate for sustained direct research
50—80estimated core Deleuzian film-philosophy community
55+conservative verifiable sample in the source review

Basis: bounded scoping-review estimates. Research depth is established through sustained work, reconstruction, critique, or influential new concepts.

A
SEVEN OPEN DEBATES

Disagreement constitutes the field

Compare the problem each interpretation changes, the cost it incurs, and the direction it opens.

D1

Is 1945 a rupture or a model?

Postwar Europe is a crucial constellation within the time-image’s multiple global sites of emergence.

D2

Replacement or coexistence?

The time-image reverses the subordination of time to movement; both regimes persist and can shift locally within one film.

D3

How can the field de-centre Europe?

World cinemas de-centre the field by modifying the taxonomy itself.

D4

Taxonomy or generator?

Fixed labels invite mere example-hunting; an open taxonomy requires new concepts to transform existing relations and explain across cases.

D5

Does the digital require a Cinema 3?

The neuro-image, no-time-image, and interface theories test the boundary, but no third regime has achieved consensus.

D6

How does temporal rupture become political?

Test non-linearity through rights to see, the distribution of waiting, and ownership of the past; its effects can include nostalgia, trauma markets, control, or paralysis.

D7

How do we use Deleuze precisely?

Test four layers: sensory-motor relation, actual/virtual circuit, audio-visual connection, and regime of truth.

B
PEOPLE / WORKS / PROPOSITIONS

Researcher index

Filter by system, history, body, digital, death, and Chinese-language research. Region records affiliation; research area appears in works and propositions.

75 verifiable researchers

29Italy / Portugal
Death, negativity & time

Marco Grosoli

Co-edited the Death-Images issue, placing life, death, history, and post-1985 cinema within an open time-image research agenda.

  • Death-Images special issue
30Portugal
Death, negativity & time

Vasco Baptista Marques

Co-edited the Death-Images issue, advancing intersections among the time-image, disappearance, material images, and contemporary cinema.

  • Death-Images special issue
34China
Chinese-language research

汪民安 / Wang Min’an

Highlights the spatial problem of the time-image in Chinese lectures: any, heterogeneous, and multiple spaces undo the natural unity of action and space.

  • 德勒兹：一个新型的电影放映员
35United States
Body, affect & senses

Steven Shaviro

Challenges language- and representation-centred film theory through the cinematic body, intensity, and passive feeling, anticipating affective and post-cinematic turns.

  • The Cinematic Body
  • Post Cinematic Affect
36Hungary
History, politics & world cinemas

András Bálint Kovács

Connects the history of modern film style with time, narration, and Deleuzian modernity and is a recurring contributor to the central edited collections.

  • Screening Modernism
  • The Brain Is the Screen
37United States
History, politics & world cinemas

Angelo Restivo

Approaches Deleuzian film philosophy through space, globalization, and national cinema; part of the verifiable core edited-volume sample.

  • The Cinema of Economic Miracles
  • Afterimages
38United States
Field-building & interdisciplinary

Dorothea Olkowski

Brings work on difference, perception, and philosophical aesthetics into the Cinema books as an important early interdisciplinary voice.

  • The Brain Is the Screen
39United States
Field-building & interdisciplinary

Dudley Andrew

Situates Deleuze within film-theory history, the Bazinian tradition, and world cinema, helping locate his place in cinema studies.

  • The Brain Is the Screen
40France
System & semiotics

François Zourabichvili

Provides rigorous philosophical grounding through work on event, literality, and Deleuzian concept creation.

  • Deleuze: A Philosophy of the Event
41Italy / United States
Body, affect & senses

Giuliana Bruno

Extends cinematic experience through space, travel, architecture, and affective mapping within the embodied turn organized by Afterimages.

  • Atlas of Emotion
  • Afterimages
42United States
Field-building & interdisciplinary

Gregg Lambert

Approaches cinema through Deleuze’s image of thought, literature, and philosophical expression, contributing to cross-media dialogue in the core collections.

  • The Non-Philosophy of Gilles Deleuze
  • The Brain Is the Screen
43Australia
Field-building & interdisciplinary

Ian Buchanan

Connects Deleuze–Guattari studies, cultural studies, and film analysis as an organizer and contributor in the English-language field.

  • Deleuze and the Contemporary World
  • Deleuze and Film
44United States
History, politics & world cinemas

James K. Chandler

Places historicity, time, and cinematic thought within a longer trajectory from Romanticism to modern culture.

  • The Brain Is the Screen
45France
System & semiotics

Jean-Clet Martin

Approaches Deleuzian cinema through folds, worlds, and multiplicities, representing the encounter of Francophone philosophy and film studies.

  • The Brain Is the Screen
46United States
Field-building & interdisciplinary

John Rajchman

Contributes work on Deleuze in modern thought, art, and architecture to the early formation of the cinema–brain–thought field.

  • The Deleuze Connections
  • The Brain Is the Screen
47France
System & semiotics

Marie-Claire Ropars-Wuilleumier

Studies writing, montage, and Blanchot-inflected thought in audio-visual relations, a key point of entry from Francophone film theory.

  • The Brain Is the Screen
48Cyprus / United Kingdom
Digital, interface & post-cinema

Markos Hadjioannou

Studies digital cinema, materiality, and modes of image existence, contributing to the turn from the time-image toward digital ontology.

  • From Light to Byte
  • Afterimages
49United States
Field-building & interdisciplinary

Martin Schwab

Participates in the foundational English-language edited discussion of Deleuzian film philosophy, thought, and audiovisual form.

  • The Brain Is the Screen
50United States
Body, affect & senses

Melinda Szaloky

Approaches Deleuze through affect, gender, embodiment, and film form, extending the experiential dimension of the original taxonomy.

  • Afterimages
51United States
System & semiotics

Peter Canning

Contributes to the foundational Brain Is the Screen discussion through cinema, time, and philosophical concept creation.

  • The Brain Is the Screen
52France
Field-building & interdisciplinary

Raymond Bellour

Develops the space between images across cinema, photography, video, and installation, a key reference for intermedial time and spectatorship.

  • Between-the-Images
  • Afterimages
53Turkey / United Kingdom
Body, affect & senses

Serazer Pekerman

Uses gender, space, and Deleuzian film concepts in the central edited collections, extending embodied and political analysis.

  • Deleuze and Film
54United States
Field-building & interdisciplinary

Tom Conley

A recurring contributor across core collections, linking maps, space, writing, and Deleuzian film philosophy.

  • The Brain Is the Screen
  • Afterimages
  • Deleuze and Film
55France / Brazil
Field-building & interdisciplinary

Éric Alliez

Connects Deleuzian philosophy with aesthetics, war, and contemporary art, grounding political and visual-cultural extensions of film philosophy.

  • The Brain-Eye
  • Afterimages
56Brazil
History, politics & world cinemas

Jorge Vasconcellos

Represents sustained Lusophone work connecting Deleuzian film philosophy with education, thought, and Latin American moving images.

  • Deleuze e o cinema
60France
System & semiotics

Suzanne Hême de Lacotte

Offers an early Francophone account of how Deleuze turns cinema, movement, and time into philosophical problems across the two Cinema books.

  • Deleuze: philosophie et cinéma
Author profile
68Australia
System & semiotics

Roger Dawkins

Derives a method of film analysis from Deleuze’s transformation of structuralism and extends relational, semiotic, and differentiating structures into platform images.

  • Gilles Deleuze’s Structuralist Cinema-World
Author profile
72Japan
Field-building & interdisciplinary

Tatsuya Higaki

Connects philosophy of life, moving images, and East Asian Deleuze communities through research projects, regional networks, and close-reading courses on Cinema.

  • ドゥルーズの『シネマ』読解からみる哲学と映像
Author profile
73Japan
System & semiotics

Tatsuya Kimura

Offers an early Japanese-language account of the image’s monism/dualism and of the overall structure of the Cinema books.

  • ジル・ドゥルーズの映画論
  • ドゥルーズ『シネマ』の全体像
Author profile
74Japan
System & semiotics

Kosaku Tozawa

Differentiates layers of croyance in the Cinema books, clarifying narrative belief, relation to the world, and the ethics of modern cinema.

  • ジル・ドゥルーズ『シネマ』における Croyance 概念の層構造
Author profile