In her article &ldquo\;Death as Film-Philosophy&rsquo\;s Muse: Deleuzian Observations on Moving Images and the Nature of Time\,&rdquo\; Susana Viegas has shown that Gilles Deleuze&rsquo\;s concept of the &ldquo\;time-image&rdquo\; (i.e. a way for moving images to present time breaking with the conception of the latter as a discrete sequence of moments\, each mechanically linked to the previous and the next) is inseparable from conceiving of death in ways other than the mere interruption of a linear progression called &ldquo\;life.&rdquo\; That is to say\, the &ldquo\;time-image&rdquo\; qua direct\, non-mediated presentation of time cannot but be as well a &ldquo\;death-image&rdquo\; foreshadowing the presence of death before it happens in the future\; an indirect\, oblique way of expressing future nonexistence\; a direct image of passing over time.
\nThe &ldquo\;Lazarean subject&rdquo\;\, i.e. the subject coming back from the dead as theorized most effectively in the cinematic practice of Alain Resnais (among others\, in \;Guernica\, 1950\, \;Night and Fog\, 1955\, \;Hiroshima mon amour\, 1959)\, is perhaps the most fitting exemplification of this convergence between &ldquo\;time-image&rdquo\; and &ldquo\;death-image&rdquo\;. To some extent\, this convergence can be regarded as Deleuze&rsquo\;s contribution to a strand of French 20th \;century thought (e.g. Georges Bataille\, Maurice Blanchot\, Jacques Lacan\, among others) fruitfully elaborating on what lies &ldquo\;between two deaths&rdquo\;\, i.e. between the subject&rsquo\;s symbolic and real deaths.
\nThe relationship between Deleuze&rsquo\;s cinematic taxonomy and history is a complex one &ndash\; suffice it to mention the paramount importance of World War II (qua ultimate\, collective trauma) in structuring his classification\, down to the very division between his two tomes (Cinema 1: Movement-Image\, 1983\, and \;Cinema 2: Time-Image\, 1985). Without going into the intricacies of this relationship\, to affirm that a relationship of some kind with history \;is \;there in Deleuze&rsquo\;s taxonomy in the first place is safe enough for the following question to be legitimate and\, arguably\, inevitable: what happened to the &ldquo\;time-image&rdquo\; \;after \;the publication of \;Cinema 2?
\nForty years after the release of \;Cinema 2: Time-Image\, this special issue will collect essays on films and directors working after 1985 that exemplify the convergence between &ldquo\;time-image&rdquo\; and &ldquo\;death-image&rdquo\; in ways that are not perfectly coincident with the ways Deleuze put it in his cinema books but possibly illuminating it with the hindsight of a later historical perspective. We are looking for essays reflecting on post-1985 cinematic instances of this convergence and showing kinds of &ldquo\;death-images&rdquo\; that Deleuze could not have envisaged writing in 1985.
\nEssays dealing with films and directors from non-Western areas will be particularly welcome. As it is well-known\, the section(s) of \;Cinema 2 \;on non-Western cinemas are deliberately tentative\, and thus implicitly calling for future specification. Several major figures in recent so-called &ldquo\;World Cinema&rdquo\; (to name but a few: Jia Zhang-Ke\, Lisandro Alonso\, Apichatpong Weerasethakul\, Abderramahne Sissako\, Lav Diaz) engage deeply with &ldquo\;time-image&rdquo\;\, and in a lot of cases their cinemas strongly relate to death and the &ldquo\;death-image&rdquo\; too. Essays on lesser-known figures would\, however\, be no less welcome.
\nJapan is of course a particularly important case in point. The atomic bombings of Hiroshima and Nagasaki\, and their large-scale impact\, profoundly informs Deleuze&rsquo\;s cinema diptych\, and there is no shortage of Japanese works reflecting on them in a Deleuzian way (e.g. from Shohei Imamura&rsquo\;s \;Black Rain\, 1989\, to Nobuhiko Obayashi&rsquo\;s \;Labyrinth of Cinema\, 2019\; also\, Yoji Yamada&rsquo\;s \;Tora-San \;series could hardly be seen as very Deleuzian as it unfolded in the 1970s and 1980s\, and yet its 2019 culmination \;Tora-San\, Wish You Were Here \;lends itself to be analysed at the intersection between &ldquo\;time-image&rdquo\; and &ldquo\;death-image&rdquo\; like very few others).
\nFull manuscript submission deadline: \;May 31\, 2025
\nArticles can be written in \;English\, French\, Spanish \;or \;Portuguese \;and will be \;blind peer reviewed. Visual essays will also be accepted. Formatting must be in accordance with the journal&rsquo\;s submission guidelines\, and the submission must be made via the \;OJS platform.
\nEditors: Marco Grosoli\, Lucas Ferraç\;o Nassif\, Vasco Marques (Ifilnova) e Susana Viegas (NOVA FCSH)
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