Abstract
With the advent of post-war cinema, Deleuze heralded the emergence of a new character he called the ‘forger’. More than a mere liar or traitor, the forger embodied modern cinema’s capacity for expressing what Deleuze called the ‘powers of the false’. From Citizen Kane to Touch of Evil, Orson Welles evolved this figure to encapsulate the exhaustion, nihilism, and ultimately (self-)destructive drive of modern life. However, against this dominant image of the forger, Deleuze discerned another in Welles’s cinema, one exemplified by Falstaff in Chimes at Midnight. This chapter begins by introducing the dominant forger in Welles’s cinema before exploring Falstaff as a more positive, life-affirming alternative.
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Varndell, D. (2023). Banish All the World: Deleuze on Chimes at Midnight. In: Lash, D., Law, H.L. (eds) Gilles Deleuze and Film Criticism. Palgrave Film Studies and Philosophy. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-33305-7_7
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