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Jean-Francois Lyotard’s work remains a largely untapped resource for film-philosophy. This paper will survey four fundamental concepts which indicate the fecundity of this work for current studies and debates. These terms indicate the relevance of Lyotard’s work in the contexts of the renewed interest in the dispositif , new materialism, the affective turn, and second-wave Lacanianism. As Adrian Martin has argued, the concept of the dispositif (or apparatus) is ripe for rehabilitation in the contemporary context because it shows a way beyond the limiting notion of mise en scene which has dominated approaches to film. Lyotard’s prevalent use of this term is one of the sources feeding into its current renewal. Following Jean-Michel Durafour, matter may be situated as an important theme in Lyotard’s film-philosophy. If it is not one that Lyotard explicitly makes central in his writings on film, it is nevertheless one at the heart of his aesthetics, which may be extended for film. Affect was an important theme for Lyotard in many contexts, including his approaches to film. In the essay “Acinema” affect is understood in the context of a singular intensity which disrupts narrative and transmits sensation directly to the body of the spectator-listener. And in “Two Metamorphoses of the Seductive in Cinema” there is an early intimation of his later concept of the affect-phrase, where a disruptive scene in Coppola’s Apocalypse Now is analysed in terms of an abeyance of the film’s “seductive” effects. Finally, the Real emerges as a central concept in Lyotard’s last essay on cinema, “The Idea of a Sovereign Film.” This concept in some ways resembles Lacan’s, but while Lacanian film theorists often see the Real as symbolised within the film’s narrative, Lyotard emphasises the formal and material dimensions of the Real which disrupt the narrative construction of the film.

Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy