Eternity Descending into Time: Badiou and the Cinematic Temporality of Love

This article brings Alain Badiou’s philosophy of love and truth into the consideration of the cinematic real. It argues that love has been overlooked in the discourse of the cinematic real and that love should be recuperated in and for cinema so that a version of the cinematic real informed by Badio...

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Main Author: Lu Zeng
Format: Article
Language:English
Published: Edinburgh University Press 2025-02-01
Series:Film-Philosophy
Subjects:
Online Access:https://www.euppublishing.com/doi/10.3366/film.2025.0299
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author Lu Zeng
author_facet Lu Zeng
author_sort Lu Zeng
collection DOAJ
description This article brings Alain Badiou’s philosophy of love and truth into the consideration of the cinematic real. It argues that love has been overlooked in the discourse of the cinematic real and that love should be recuperated in and for cinema so that a version of the cinematic real informed by Badiou’s philosophy can emerge. Differing from the Althusserian–Lacanian concept of the real or reality, Badiou’s version of the cinematic real is infused with intensity and contingency; it accommodates love and endorses cinephilia. For Badiou, the temporality of love and any truth-procedure is one of eternity descending into time, which can roughly be understood as an affective experience of sensing the presence of eternity in fleeting moments. Specifically, this article explores how Badiou’s truth manifests in cinema through a temporality of love using examples from Mauvais Sang (Leos Carax, 1986) and In the Mood for Love (Wong Kar Wai, 2000).
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spelling doaj-art-970686bad5114af3bd2aa0091d369fd62025-01-20T11:45:25ZengEdinburgh University PressFilm-Philosophy1466-46152025-02-0129122124310.3366/film.2025.0299Eternity Descending into Time: Badiou and the Cinematic Temporality of LoveLu Zeng0Central Saint Martins, University of the Arts London, UKThis article brings Alain Badiou’s philosophy of love and truth into the consideration of the cinematic real. It argues that love has been overlooked in the discourse of the cinematic real and that love should be recuperated in and for cinema so that a version of the cinematic real informed by Badiou’s philosophy can emerge. Differing from the Althusserian–Lacanian concept of the real or reality, Badiou’s version of the cinematic real is infused with intensity and contingency; it accommodates love and endorses cinephilia. For Badiou, the temporality of love and any truth-procedure is one of eternity descending into time, which can roughly be understood as an affective experience of sensing the presence of eternity in fleeting moments. Specifically, this article explores how Badiou’s truth manifests in cinema through a temporality of love using examples from Mauvais Sang (Leos Carax, 1986) and In the Mood for Love (Wong Kar Wai, 2000).https://www.euppublishing.com/doi/10.3366/film.2025.0299Cinematic realBadioutemporalitylovetruth
spellingShingle Lu Zeng
Eternity Descending into Time: Badiou and the Cinematic Temporality of Love
Film-Philosophy
Cinematic real
Badiou
temporality
love
truth
title Eternity Descending into Time: Badiou and the Cinematic Temporality of Love
title_full Eternity Descending into Time: Badiou and the Cinematic Temporality of Love
title_fullStr Eternity Descending into Time: Badiou and the Cinematic Temporality of Love
title_full_unstemmed Eternity Descending into Time: Badiou and the Cinematic Temporality of Love
title_short Eternity Descending into Time: Badiou and the Cinematic Temporality of Love
title_sort eternity descending into time badiou and the cinematic temporality of love
topic Cinematic real
Badiou
temporality
love
truth
url https://www.euppublishing.com/doi/10.3366/film.2025.0299
work_keys_str_mv AT luzeng eternitydescendingintotimebadiouandthecinematictemporalityoflove