Performance is one that could easily be considered terrible, but for

WonderfulВ naГЇve innocence in the character, and his Herzog noticed him in a shortДЇilm about street musicians and decided that he would beВ perfectД¬asting for the film role. Had spent most of his life in institutions and care homes after beingДЄbused by his mother from a young age. Most controversial and ultimately memorable aspect of the film. The direction and storyline are solid, the casting proves to be the Well known classical music that fits the film well. Herzog keeps the direction in the background, with some nice long shots Kaspar is obviously seeing for the first time. Time, the camera will often focus on random, every-day objects that The film as Kaspar is experiencing the outside world for the first

The pacing is very slow and gentle and most of theДЇilm is dialogue based, unlike most Kaspar Hauser films it doesn't dwell on his original identity or motives.Дirection is strong here with some clever camera-work - at the start of Tragedy is very notable towards the start, as the people see him like aД¬ircus animal and humiliate Kaspar - some of the scenes are very awkward andВ hard To educate him although importantly the film never mocks his situation or plays it up for cheap laughs. There areД®lements of comedy and tragedy running throughout the film - much of theД¬omedy comes from Kaspar's ideas, and the attempts of the townspeople NaГЇve and child-like attitude to every day situations. The story is that of a man who is essentially 'born'ДЇully grown and the script contains some wonderful references to his 'historical' films, Herzog takes the basic frame and works his own By posing a notion of thought in this way, I hope not only to suggest the potential of the cinema, but to explicate this potential by synthesising certain aspects of DeleuzeвЂ™s cinema philosophy, therefore at the same time outlining an overarching theory of DeleuzeвЂ™s semiotic project as a pragmatics of force.Based around a well documented real incident, as with his other With this in mind then, and in terms of DeleuzeвЂ™s equation of the image with matter, an idea of non-representation will be described in terms of a certain relation between images and the realization of what Spinoza would call essence or an вЂњadequateвЂќ knowledge of substance. This is because I have interpreted SpinozaвЂ™s philosophy of univocal substance to be the driving force behind DeleuzeвЂ™s cinematic project. Finally though, I want to cast these ideas within the context of what I see to be Benedict De SpinozaвЂ™s influence on Deleuze. What I want to suggest though, based on Deleuze, is that the vision is a process of meaning creation, an act of thinking in-itself where the absolute power of thought is motivated through the creation of Ideas rather than the recollection of concepts. Narratively speaking, we will see that with the apparent ambiguity of the vision (in terms of its relation to the film as a whole), the sequence is all too easily written off according to some kind of ideological significance: the delirium of a madman, a hallucination, an epiphany, a spiritual awakening or a prophetic foreshadowing. Bearing this opposition in mind, the vision sequence is particularly important because it testifies to the tension within thinking to go either way: for one either to be constrained within the doxa of representation or moved by the violence of the faculties. As opposed to the classical mode of thought, a modern image would be the kind of thinking Gilles Deleuze describes as non-representational in nature. In other words, I am hoping to use HerzogвЂ™s film as a way of tracing a modern image of thought in the cinema. Such a moment will be explored as the instance of a certain mode of thinking, and what I hope to put forward in this paper, from a semiotic point of view, is the possibility of the passage, revealed by this particular sequence, towards the highest kind of thought in the cinema. In this sequence the filmвЂ™s protagonist, Kaspar, has what appears to be a profound vision. In this paper I will analyse a sequence from Werner HerzogвЂ™s film The Enigma Of Kaspar Hauser.

The enigma of kaspar hauser