Conclusion

  • Inela Selimović
Chapter

Abstract

In Afterimages of Gilles Deleuze’s Film Philosophy (2002), Giuliana Bruno’s piece reaffirms the conceptual elasticity of affect. Building on Deleuze’s notion of “an affection-image,” Bruno insists that affect must be “an extensive form of contact [sic]: a transmission that communicates in different spaces, and does so tangibly” (2002: 214, original emphasis). Affect as a palpably intersubjective materialization—regardless of its transitory but nearly always seizing nature alongside basic emotions—indeed connects aesthetically dissimilar films anew through a gendered perspective in Affective Moments in the Films of Martel, Carri, and Puenzo. In so doing, this book has highlighted the ways in which several prominent women filmmakers have innovatively contributed to the NAC’s morphing to heterogeneous aesthetic directions.

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Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Inela Selimović
    • 1
  1. 1.BostonUSA

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