Deleuzian spectatorship

<<J‘ai faim, J‘ai froid.>> Deleuze‘s philosophy of film, and his philosophical system in general, provide film scholars with a number of expressive tools, as well as a creative philosophical approach with which to describe their responses to cinema. In particular, an inspection of some of the divergent ways in which concepts labeled as ‟Deleuzian” are used in feminist film theories reveal a number of different theoretical positions, and often conflicting accounts of what Deleuze‘s philosophy of film actually contends in relation to the notion of spectatorship and cinema. Deleuze mentions ‟the spectator” several times in both of his Cinema books, a point that is often overlooked in discussions of Deleuzian approaches to spectatorship. This chapter begins by setting out Deleuze‘s position on the cinematic spectator, and then examines some of the differing applications of what might constitute a feminist oriented ‟Deleuzian spectator.”