Read chapter three, ‘Cinematic Assemblages: An Ethological Approach to Film Viewing’, here.

REVIEWS

A highly readable feminist introduction to Deleuze’s Cinema volumes by foregrounding the bodily and affective nature of the cinematic viewing experience … Rizzo’s book is undoubtedly a valuable contribution to both Deleuze and feminist film studies” –  Sergey Toymentsey, Film Criticism

“[An] accessible and interesting book … [Deleuze and Film] provides a compelling method for identifying films that challenge static gender categories. As such, the book will doubtless be a useful tool for feminist researchers wanting to pursue questions of spectatorship” –  Janice Loreck, Monash University, Australia, New Review of Film and Television Studies

“’Both an accessible introduction to Deleuze’s cinema philosophy and a major advance in feminist film theory, this is a tour de force of lucid and creative thought. Rizzo’s focus on the body of the viewer provides a provocative reconfiguration of Deleuze’s cinematic taxonomy while opening lines of inquiry beyond the psychoanalytic models and theories of spectatorship currently dominant in film theory. An essential contribution to the field.’” –  Ronald Bogue, Distinguished Research Professor at University of Georgia, USA and author of Deleuze on Cinema (Routledge),

“’In Deleuze and Film: A Feminist IntroductionTeresa Rizzo presents us with a ‘third Deleuze’, that is a Deleuze who is a cineaste and a feminist. In this way we are given not only a new and rich introduction to Deleuze’s thinking and writing on film, but also a provocative rethinking of his work from the perspectives of gender and film-making. This is an important intervention into the growing body of work on the intersection between Deleuze and cinema.’” –  Ian Buchanan, Editor of Deleuze Studies,