Cinematic Screen Pedagogy in a Time of Modulated Control: To Think the Outside

  • jan jagodzinskiEmail author
Part of the Contemporary Philosophies and Theories in Education book series (COPT, volume 8)


Given the rise of digital technologies, there is now more than ever a threat to what Deleuze and Guattari refer to as the Outside. The Outside is essentially a nonanthropomorphic space and time poised at the limit of a world defined by human intentions, interests, and conscious control. With no Outside, reality becomes nothing more than repetition without difference, a pure play of simulations across our various screens. This is the key threat posed by digitization which arts educators should be most concerned with. As an alternative, this chapter returns to the question of cinema, and how cinema’s pedagogy might retain a space and a time to think the Outside.


Screen Image Control Society Digital Film Uncanny Valley Chronological Time 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


  1. Berardi, F. (2009). Precarious rhapsody: Semiocapitalism and the pathologies of post-alpha generation. New York: Autonomedia.Google Scholar
  2. Carlin, M., & Wallin, J. (Eds.). (2014). Deleuze and Guattari, politics and education for a people-yet-to-come. London/New York/Sydney/Delhi: Bloomsbury Pub.Google Scholar
  3. Clough, P. (2009). The new empiricism: Affect and sociological method. European Journal of Social Theory, 12(1), 43–61.CrossRefGoogle Scholar
  4. Deleuze, G. (1986). Cinema 1: The movement-image (H. Tomlinson & B. Habberjam, Trans.). Minneapolis: University of Minnesota Press. Designated as C1 throughout.Google Scholar
  5. Deleuze, G. (1988). Foucault (H. Séan, Trans.). Minneapolis: University of Minnesota Press.Google Scholar
  6. Deleuze, G. (1989). Cinema 2: The time-image (H. Tomlinson & R. Galeta, Trans.). Minneapolis: University of Minnesota Press. Designated as C2 throughout.Google Scholar
  7. Deleuze, G. (1993). The fold: Leibniz and the Baroque (T. Conley, Trans.). Minneapolis: University of Minnesota Press.Google Scholar
  8. Deleuze, G. (1994). Difference and repetition (P. Patton, Trans.). New York: Columbia UP. Designated as DR throughout.Google Scholar
  9. Deleuze, G. (1995). Control and becoming. In Negotiations (M. Joughin, Trans.). New York: Columbia University Press. Designated as N throughout.Google Scholar
  10. Deleuze, G. (1997). Spinoza and the three ‘ethics.’ In G. Deleuze (Ed.), Essays critical and clinical (D. W. Smith & M. A. Greco, Trans.). (pp. 138–151). Minneapolis: University of Minnesota Press.Google Scholar
  11. Deleuze, G. (1998). Having an idea in cinema (on the cinema of Staub-Huillet) (E. Kaufman, Trans.). In E. Kaufman & K. J. Heller (Eds.), Deleuze & Guattari: New mappings in politics, philosophy, and culture (pp. 14–19). Minneapolis/London: University of Minnesota Press.Google Scholar
  12. Deleuze, G. (2000). The brain is a screen (1986). In G. Flaxman (Ed.), The brain is a screen: Deleuze and the philosophy of cinema (pp. 365–373). London/Minneapolis: University of Minnesota Press.Google Scholar
  13. Deleuze, G. (2001). Pure immanence: Essays on a life (A. Boyman, Trans.). New York: Zone Books.Google Scholar
  14. Deleuze, G. (2003). Spinoza and the three ‘ethics’ (J. Rubin, Trans.) Pli: The Warwick Journal of Philosophy, 14, 1–20.Google Scholar
  15. Deleuze, G., & Félix, G. (1987). Thousand plateaus: Capitalism and schizophrenia (M. Brian, Trans.). Minneapolis: University of Minnesota Press. Designated as ATP throughout.Google Scholar
  16. Deleuze, G., & Guattari, F. (1984). Anti-Oedipus: Capitalism and schizophrenia (R. Hurley, M. Seem & H. R. Lane, Trans.). London: Athlone Press. Designated as A-O throughout.Google Scholar
  17. Deleuze, G., & Guattari, F. (1986). Kafka: Toward a minor literature (D. Polan, Trans.). London/Minneapolis: University of Minnesota Press.Google Scholar
  18. Deleuze, G., & Guattari, F. (1994). What is philosophy? (G. Burchell & H. Tomlinson, Trans.). London/New York: Verso. Designated as WIP throughout.Google Scholar
  19. Flaxman, G. (2012). Out of field: The future of film studies. Angelaki, 17(4), 119–137.Google Scholar
  20. Gielen, P., & De Bruyne, P. (Eds.). (2012). Teaching art in the neoliberal realm: Realism vs. Cynicism. Amsterdam: Valiz.Google Scholar
  21. Gilliam, T. (Director). (2013). The Zero Theorem. Perf. Christoph Waltz [Voltage Pictures]. Zanuck Independent.Google Scholar
  22. Guattari, F. (1995). Chaosmosis: An ethico-esthetic paradigm (P. Bains & J. Pefanis, Trans.). Bloomington/Indianapolis: Indiana UP.Google Scholar
  23. Guattari, F. (1997). Capital as the integral of power formations. (C. Wolfe & S. Cohen, Trans.). In S. Lotringer (Ed.), Soft subversions (pp. 265–277). New York: Semiotext(e).Google Scholar
  24. jagodzinski, j. (2010). Art and education in an era of designer capitalism: Deconstructing the oral eye. New York/London: Palgrave McMillan.CrossRefGoogle Scholar
  25. Massumi, B. (2005). The future birth of the affective fact: The political ontology of threat. Conference Proceedings: Genealogies of Biopolitics.
  26. Pisters, P. (2012). The neuro-image: A Deleuzian film-philosophy of digital screen culture. Stanford: Stanford University Press.Google Scholar
  27. Thacker, E. (2011). In the dust of this planet: Horror of philosophy (Vol. 1). Winchester/Washington: Zero Books.Google Scholar
  28. Wallin, J. J. (2011). What is ? curriculum theorizing for a people to come. Studies in Philosophy and Education, 30(3), 285–301.CrossRefGoogle Scholar

Copyright information

© Springer Science+Business Media Dordrecht 2015

Authors and Affiliations

  1. 1.Secondary EducationUniversity of AlbertaEdmontonCanada

Personalised recommendations