시몽동의 개체화 이론에 비추어 본 들뢰즈의 영화철학 = Deleuze’s Film-Philosophy in Light of Simondon’s Theory of Individuation

다국어 초록 (Multilingual Abstract)

This paper examines how Gilles Deleuze’s philosophy of cinema is shaped by Gilbert Simondon’s theory of individuation. Contrary to the common view that Deleuze primarily draws on Bergson’s notion of duration when discussing cinema as the indirect representation and direct presentation of time, I argue that Simondon’s account of “modulative individuation,” which addresses the problematic disparation between human beings and their milieu, plays a more decisive role. Simondon’s influence becomes especially prominent in Cinema 2, where Deleuze not only highlights the limits of Bergsonian duration but also advances Simondon’s theory as a compelling alternative. Although traces of Simondon appear throughout Cinema 1 and Cinema 2, this paper focuses on several chapters of Cinema 2 where his impact is most pronounced. First, I examine how Deleuze draws on Simondon’s distinction between moulding and modulation to theorize cinematic images and signs. Second, by re-reading Deleuze’s discussions of the crystal-image and the modern noosign, I show how Deleuze creatively incorporates Simondon’s theories of physical and vital individuation. Through this analysis, I argue that Deleuze’s film-philosophy ultimately presents film as a site for new modes of human individuation capable of resolving the modern condition of humanity’s fracture from the world.