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The Woven World-Image: Lubitsch, Deleuze and the Film-Philosophies of Fabric
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This chapter explores the aesthetic and philosophical resonances of fabric in Lubitsch’s historical films, specifically Madame DuBarry (1919) and Anna Boleyn (1920), through a Deleuzian framework. It proposes that these films construct a “woven world-image” wherein textiles function not only as ornamental surfaces but as tactile, sensorial fields of historical and political meaning. Engaging Gilles Deleuze’s concepts of the world-image, sensation, and the haptic, the analysis argues that Lubitsch’s use of fabric generates a phenomenological experience of history—one in which the visual texture of costumes and environments invites embodied forms of spectatorship. The chapter thus positions Lubitsch as a cinematic thinker of material and metaphysical entanglements, redefining the historical film as a medium of affective and ontological inquiry.
Title: The Woven World-Image: Lubitsch, Deleuze and the Film-Philosophies of Fabric
Description:
This chapter explores the aesthetic and philosophical resonances of fabric in Lubitsch’s historical films, specifically Madame DuBarry (1919) and Anna Boleyn (1920), through a Deleuzian framework.
It proposes that these films construct a “woven world-image” wherein textiles function not only as ornamental surfaces but as tactile, sensorial fields of historical and political meaning.
Engaging Gilles Deleuze’s concepts of the world-image, sensation, and the haptic, the analysis argues that Lubitsch’s use of fabric generates a phenomenological experience of history—one in which the visual texture of costumes and environments invites embodied forms of spectatorship.
The chapter thus positions Lubitsch as a cinematic thinker of material and metaphysical entanglements, redefining the historical film as a medium of affective and ontological inquiry.
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