Abstract:

In his work Cinema II: Time-Image, Gilles Deleuze examines the relationship between cinema and thoughts with the concepts of "body cinema" and "brain cinema." Deleuze argues that what escapes from thoughts is "life" and puts the body in the center. The thinker's understanding of the body is affective-oriented, which Spinoza thinks of as "the power to affect and be affected." In this understanding, thinking is not just a passive activity that takes place in the brain. The brain cannot be thought of apart from the body the body cannot be thought of apart from the brain. Both are action centers. Thus, thinking ceases to be just a mental activity and becomes connected with the body's actions, postures, attitudes, gestures, and facial expressions. In addition, the brain ceases not to be just the human brain and opens up to the universal, which encloses the human brain like a net with its cosmic dimensions. Heidegger's conception of thought is similar to Deleuze's. Heidegger thinks that thought should be sought not in individual minds but the relationship between bodily activities and external objects. Cinema, especially modern cinema, reveals these understandings of the body. The brain, on the other hand, can be classified as individual brains and cosmic brains. Deleuze examines the relationship between body and thought with some examples from modern European cinema. This article deals with Deleuze's discussion of the concepts of body and brain cinema in a wider context with other examples of Turkish cinema and world cinema. In the analysis, some texts of Heidegger, Nietzsche and Kierkegaard and philosophers such as Spinoza are also used. The article adopts the approach that asserts that films do philosophy independently and analyzes it this way. Bodies in the cinema are divided into two, "the everyday body" and "the ceremonial body," with the distinction of Deleuze.

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