Analysis of the Juliet of the Spirits, Brazil, Body and Soul films with a Deleuze's perspective

The basis of the study is the terms that Gilles Deleuze added to the philosophy of cinema. In this context, within the Surrealism movement, Federico Fellini's Juliet of the Souls (1965), Terry Gilliam's Brazil (1985) and Ildikó Enyedi's Body and Soul (2017) films, especially Deleuze's concept of Quad, are emphasized. Spinoza's concept of affect is used at the point where Deleuze's Quad concept increases or purifies potentials. Films that progress with images are examined together with Deleuze's concepts of visual-image and sonic-image. The phenomenon of analyzing the world of images in the philosophy of cinema is evaluated within Deleuze's concept of deterritorialization, and the framed scenes are evaluated within Deleuze's concept of Quad. The affective potentials caused by this situation are analyzed within the scope of camera movements. The relationship between quad and potential is discussed through the films Juliet of the Souls, Brazil, and Body and Spirit, which are considered within the art movement of surrealism. Within the same methodology, the concepts of rhizome, difference and repetition, body without organs, crystal-image and time-image will be highlighted and discussed. The connection between spatial deterritorialization and surrealism has been examined within the philosophical context of images and the destruction of reality, surrealism and the sensory-motor mechanism. The world of images and the destruction of the symbolic world of reality, which are valid for surrealism, correspond exactly to Deleuze's visual image and sonic image. Essentially, the concept of Quad ensures the disappearance of the images formed in the mind and the loss of the potential in the narrative of the facts that remain only within the frame. The destruction of the sensorimotor mechanism, which is considered in the a priori context, and its potential loss within the concept of Quad, are discussed in Surrealist films in the Deleuzian context. Our aim in this research is to highlight the common points of the Surrealism movement, in terms of Gilles Deleuze's philosophy of cinema, through images. In this direction, the terms of Gilles Deleuze's philosophy of cinema were discussed through examples in terms of both technique and content. Within the scope of technique and content, especially affect-image has been brought to the fore. In the study, besides the purposeful sampling technique was applied, the qualitative analysis method was used. Keywords: Optical-Image, Sonic-Image, Surrealism, Quad, Affection-Image