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espanolGilles Deleuze ha ofrecido en sus dos estudios sobre cine —L’image–mouvement y L’image– temps— una de las propuestas mas ambiciosas de las ultimas decadas en lo que concierne a la relacion entre filosofia y cine, hasta el punto de construir una autentica “filosofia cinematografica” y de inaugurar, en paralelo a Stanley Cavell, una fructifera linea de investigacion filosofica que ha dado en denominarse como “film–philosophy”. Su primera obra se centra, fundamentalmente, en elaborar una metafisica del tiempo inspirada en la filosofia de Henri Bergson, pero utilizando las posibilidades del cine para complementar y trascender las ideas del autor de L’evolution creatice. En su segunda obra, por el contrario, Deleuze analiza la modernidad cinematografica, junto con el nuevo regimen de imagenes que esta promocionara, como sintoma del nihilismo contemporaneo y a su vez como herramienta que colabore en su superacion. Intentaremos realizar una presentacion general de las claves del enfoque deleuziano tomando como referencia los dos siguientes ejes, a saber: a) la concepcion del cine como un autentico modelo ontologico capaz de permitirnos pensar el tiempo y el universo de un modo prometedor y b) las aptitudes del cine como instancia etica desde la que contrarrestar los peligros del nihilismo contemporaneo. EnglishGilles Deleuze has offered in his two studies on cinema —L’image–mouvement and L’image– temps— one of the most ambitious proposals of the last decades on the relation between philosophy and cinema, constructing a true “cinematographic philosophy” and inaugurating, in parallel to Stanley Cavell, a fruitful line of philosophical research that has been called “film–philosophy”. His first work focuses, essentially, on a metaphysics of time inspired by the philosophy of Henri Bergson, but using the possibilities of cinema to complement and transcend the ideas of the author of L’evolution creatice. In his second work, on the other hand, Deleuze analyzes film modernity, together with the new regime of images that it promotes, as a symptom of contemporary nihilism and in turn as a tool that can collaborate in its overcoming. We will try to make a general pres¬entation of the keys of the Deleuzian approach, taking as a reference the following two axes: the conception of cinema as a true ontological model capable of allowing us to think of the time and the universe in a promising way, and the aptitudes of cinema as an ethical instance from which to oppose the dangers of contemporary nihilism.

El escultor del tiempo: claves de la “filosofía cinematográfica” de Gilles Deleuze