https://www.peren-revues.fr/revue-k/535 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/570 According to Rancière’s lesson on the nature of visibility, cinema’s prerogative to derail the order of discourse is an indication of the aesthetic-political potential of the body-image. In this sense, the erratic movement and the unpredictability of the ironic gesture find in Charlot an impressive incarnation, in the name of the incomparability between situations revealed by the “burlesque” action through the expression of infinitely small differences. mer., 03 janv. 2024 15:07:59 +0100 mer., 03 janv. 2024 15:10:11 +0100 https://www.peren-revues.fr/revue-k/570 https://www.peren-revues.fr/revue-k/565 Mime is a central figure in Gilles Deleuze’s Logic of Sense. Starting with a reprise of Deleuzian reference to mime, this essay would try to analyse the re-emergence of mime within the French philosopher's reflection on cinema through the paradigmaticity of the most famous of Charlie Chaplin’s inventions: Charlot. mer., 03 janv. 2024 14:12:20 +0100 mer., 03 janv. 2024 15:09:32 +0100 https://www.peren-revues.fr/revue-k/565 https://www.peren-revues.fr/revue-k/534 Which space does the Tramp live in? The hypothesis underlying this article is that the Tramp, is a figure that (does not) embodies the crowd of millions of poor, migrants, unemployed, homeless (that ‘class’ named the ‘Planetariat’ by the poet Jack Hirschman). A Tramp is nothing more than one of the silhouettes of this innumerable crowd. He moves in a desert which is the result of the “age of catastrophe” (Hobsbawm) we have been living in since 1914. Inside and within the catastrophe, the vagabond’s laugh expresses a way of being in the world, a practice of disaster. mar., 02 janv. 2024 15:12:56 +0100 mar., 02 janv. 2024 15:24:20 +0100 https://www.peren-revues.fr/revue-k/534