This chapter reviews Giorgio Agamben’s engagement with the cinematic Because cinema has its centre in the gesture and not in the image, it belongs. Modern Visual Arts April 21, G. Agamben – Notes on Gesture. From Giorgio Agamben’s book: Infancy and History – The Destruction of Experience I By the. Notes from Giorgio Agamben “Notes on Gesture”. (In the cinema, a society that has lost its gestures seeks to re-appropriate what it has lost.

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Also, Agamben’s theory might help us to think of a cinematic ethics and politics of the gesture, released from being frozen in the image.

Notes on Media and Biopolitics: ‘Notes on Gesture’

The cube touches the surface of the coffee and in four and a half seconds the coffee soaks into the cube which is then dropped into giorrgio coffee. He has written extensively on sovereignty, biopolitics, the state of emergency, monasticism, language and history. Of course all this fits with an avant-garde and modernist cinema, with which Agzmben personally have a great deal of sympathy. This particular text is available in english via two different publications, Infancy and History and Means Without End The importance of cinema is that it restores images to this dynamic movement.

Duke University Press, However, could we not also see this scene, agambne Agamben, as the recovery of a gesture as simple as dropping a sugar cube into coffee. In a similar way what Agamben calls cinema’s essential silence, which for him has nothing to do with the presence or absence of a soundtrack, can also expose our being-in-language or ‘pure gesturality’.


The task of cinema is to create but also to decreate, to decreate what exists to create something new. It also leaves us in close proximity to both philosophy and cinema, and it can allow us to think about what links them together.

His assistant spent half a day soaking sugar cubes to find the right one so this ‘detail’ agambrn last no longer, and no shorter, than four and a half seconds.

The Yiorgio Press, The power of cinema is that, in Agamben’s words, it ‘leads images back to the homeland of gestures’. Contact the Editor remove Caps before sending. Casarino Minneapolis and London: It is this new theory that I want to introduce. Dance exhibits the gesture as such, the medium of the gesture itself, or pure means without end. Skip to content Vancouver. It brings the image to a stop and exhibits it as such, again as gesture.

Giorgio AgambenGilles Deleuzegesturemedia ethologycinemaimagepolitics. What has this got to do with cinema? The second is that the image also preserves the dynamic force of the gesture, linking the gesture to a whole. In this case there is no longer some other image but the end of the image.

What we need to do is to liberate this dynamic force from the static spell of the image. What, then, would be a purely gestural cinema?

The Cinema of Guy Debord’ Agamben, ‘Notes on Gesture’, p. University Press Scholarship Online.


Giorgio Agamben’s “Notes on Gesture” | No Reading After the Internet

The MIT Press, Benjamin Noys, ‘Gestural Cinema?: According to Agamben, the gesture is a particular type of action — it is neither about acting or making, producing or action, but instead about enduring and supporting.

The gesture, as such, leaves us in the realm of mediality. By continuing to use this website, you agree to their use. In itself it has nothing to say, because what it shows is the being-in-language of human beings as a pure potential for mediation. The power of cinema, and the power of cinematic montage, is to free the image from its frozen state and transform it back into gesture.

It speaks of the cinematic project within the context of recuperation and loss. Search my Subject Specializations: In this way these two opposing conditions, repetition and stoppage, both work to free the potential of the image and to return it to the movement of the gesture. Please, subscribe or login to access full text content. No doubt we could be dubious, but I think Agamben’s rather strange theory can help us to approach both film and philosophy differently.

Levin, ‘Dismantling the Spectacle: Ethics and politics in a sugar cube?