Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and (...) affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’. (shrink)

In Virginia Woolf's 1931 novel The Waves, one of Bernard's many becomings – his ‘becoming-savage’ – reveals a point of intersection between Woolfian aesthetics and Deleuze and Guattari's philosophy. Moreover, a triangulation of Woolf's ‘moments of being’, Deleuze and Guattari's ‘worlding’, and coloniality provides a new and productive node for examining the debates surrounding imperialism in these thinkers’ works, and an insistence that Woolf, read alongside Deleuze and Guattari, offers an alternate and precisely ethical way of being in the world.