Deleuze presents this course Bergsonism and film, published here for the first time in Castilian, as a "risk" has taken. What is the risk? Deleuze fears that exploring a land so foreign to philosophy bring it to a mere exercise of implementing concepts.
Why it is worth the "risk"? He never tires of repeating: the philosopher's task is to invent concepts. More than a study on the film, which will find here is a thought experiment then through film. And as in any other course, it will be the effort and the diversity of operations, local tactical decisions taken at the right time, which are necessary to advance that Deleuze calls "invention".
How to escape a comment about the film on its own terms or those of criticism? Settling in Bergson's world of images equal to matter. And if it stops, if the risk of choking philosophy to cinema run? Pasolini advance, with Vertov, with German expressionism, with Griffith and Eisenstein. And when and palpate the edge of a new abyss? It will turn to philosophy, Peirce appears to take the plunge, Maine de Biran, Descartes. And when necessary, it will also draw on the novel, John Dos Passos, Robbe-Grillet.
What wins film with all this? A huge dramatic philosophical thickness that redefines its technical problems-assembly, field / reverse shot, depth of field, performance-, their genres -the drama, westerns, police, burlesque, the terror, their -Expresionismo currents, naturalism, realism, neorealism, nouvelle vague, experimentally and its directors, while problems of expression and thought.
What's in philosophy? An invention of concepts to explore the thought of what constitutes the "vision" of Deleuze: a non-human universe made of universal interactions and centers of indeterminacy, molecular perceptions, impulses and objects, degradations, duels of forces, organizations or sensorimotor disconnections, memory, time.