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The paper compares how two theorists of media arts, Mark B. N. Hansen and Laura U. Marks, interpret the relation of Deleuze’s time-image to corporeality. Both argue that some novel types of images - in film and media art - engage the body in new and also more intensive ways than traditional cinema did. While they remain committed to Bergson’s theory of perception, their works offer different readings of how the Bergsonian concepts of Deleuze’s film philosophy can be applied to new media: on the one hand, to the non-signifying, affective properties of Hansen’s digital image in contemporary media arts, and on the other, to Marks’s - in the last instance, memory-signifying - haptic image, which she discussed initially in connection with video art and experimental film. In New Philosophy for New Media (2004), Hansen asserts that “Deleuze’s neo-Bergsonist account of the cinema carries out the progressive disembodying of the [body]”, which “reaches its culmination in […] what he calls the ‘time-image,’” and calls for “a rehabilitation of Bergson’s embodied concept of affection.” While Marks also offers some criticism on Deleuze, she suggests that his “theory of timeimage cinema permits a discussion of the multisensory quality of cinema,” and undertakes to examine “how the body may be involved in the inauguration of time-image cinema.” Besides arguing that both tendencies are present in Deleuze to varying degrees, I attempt to contextualize the divergences in their lines of thought by looking at the types of media and selection of works they examine, as well as the possible theoretical commitments that might guide these selective strategies

From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory