Abstract

Building on Gilles Deleuze’s famous declaration that “the brain is the screen”, wholly emblematic of his thinking on cinema, this essay interrogates the place of the body within this thought in relation to Merleau-Pontyan-inspired critiques. My aim is to determine whether Deleuze offers a theory of the perceiving body in relation to spectatorial experience, despite the risk that it possibly imply a logical contradiction in the construction of the diptych on cinema. Indeed, the insistence of the body in this experience, as can be seen from Deleuze’s two works, could deny the very possibility of this “objective and diffuse” perception to which the movement-image would give us access according to the philosopher.