As for cinema, Deleuze believes, and several of the writers collected here will agree, that it is well suited for the functionings of the time-image as that which undermines self-identical truths, or instills the effects of time as becoming -- whereby becoming subverts and challenges the identity of being. Hence, as Rodowick points out, 'cinema fascinates Deleuze because it is by its very nature anti-Platonic'. The same is true for the author of the second essay, Reda Bensmaia, in her paper titled, 'L''espace quelconque' comme 'personnage conceptuel''. Here the focus is upon Deleuze's use of Pascal Auge's concept 'l'espace quelconque' (any space whatsoever). An 'any space whatsoever' is a space such as a metro stop, a doctor's waiting room, or an airport terminal. It is an anonymous space people pass through, or it is what Deleuze might call a nomadic space, a point of transit between places of 'importance', such as the metro, which is merely the space one passes through between home and work. Moreover, in such spaces -- and this is what interested the anthropologist Auge -- individuals become depersonalized. No one notes or concerns themselves with one another. The place is crowded but everyone is alone. It is for this reason that Auge argued that the 'any space whatsoever' is a homogenous, de-singularizing space.
Jeffrey A. Bell, Thinking with Cinema
