Aerial Passion, the Face, and the Deleuzean Close-Up: Samuel Beckett’s … but the clouds

  • Mary F. Catanzaro
Part of the Analecta Husserliana book series (ANHU, volume 112)


According to Gilles Deleuze, the Face and its cinematic close up represent critical stages in the restoration of a belief in the world. If anything of his discussions of cinematic images has the potential to engage readers with passion, it is the viscerally powerful energy of the Face. Human beings have a destiny, he argues: “to escape the face, to dismantle the face.” Dismantling the face demands going beyond the wall that separates the earth from the heavens. This phenomenon occurs in Samuel Beckett’s television drama … but the clouds …. There, the Face passes from physical space to spiritual immanence via the close-up. Beckett’s drama demonstrates that escaping the face is no more difficult than acknowledging the insubstantiality of the clouds above.


Black Hole White Wall Psychical Life Stooped Posture Faciality Trait 
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Copyright information

© Springer Science+Business Media Dordrecht 2012

Authors and Affiliations

  1. 1.Independent ScholarMilwaukeeUSA
  2. 2.WauwatosaUSA

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