Preface to the English-language edition Deleuze's two books on cinema, cinema. the M Cinema z: The Time-Image, even more than his other works, call fo different audiences and different readings. They obviously are of ir terest to students and scholars of film and media, as well as to phi losophers and critical theorists engaged with Deleuze's thinking But they also get attention across disciplinary boundaries. Cinema I and 2 offer challenging analyses of modes of perception. They describe a plurality of equally compelling ways of linking past, present future, ways that may exclude each other, but that, more of ten than not,overlap and coexist, giving to time, and to our experience of a thick, layered fabric. Together these books provide innovative oncepts to help us think about the power of images, affects, and beliefs, about the power of the mind and of the body -all of which weknow, in fact, so little about. It does not come as a surprise, then, that both books increasingly find readers in all the fields of the hu vanities and social sciences. No one can say whether the centur rill be Deleuzian, "as Foucault-somchow ironically-predicted but the reception of Deleuze's work in general, and on cinema in particular, is in this regard only at its beginning Cinema I and 2 are diffcult books, however, and their cross-disci- linary appeal makes it all the more important that their dense phil- osophical arguments and underpinnings should be closely analyzed and unpacked. I hope that this study contributes to such a task and that it will prove helpful to all readers of Deleuze m in this preface is not to map out the recent receptio Deleuze's work on cinema across disciplines. Such a in the making, and, to my mind, it is too early to attempt a generalI Preface to the English-language Edition Deleuze's two books on cinema, Cinema I: The Movement-Image and Cinema 2: The Time-Image, even more than his other works, call for different audiences and different readings. They obviously are of in￾terest to students and scholars of film and media, as well as to phi￾losophers and critical theorists engaged with Deleuze's thinking. But they also get attention across disciplinary boundaries. Cinema I and 2 offer challenging analyses of modes of perception. They describe a plurality of equally compelling ways of linking past, present, and future, ways that may exclude each other, but that, more often than not, overlap and coexist, giving to time, and to our experience of it, a thick, layered fabric. Together these books provide innovative concepts to help us think about the power of images, affects, and beliefs, about the power of the mind and of the body-all of which we know, in fact, so little about. It does not come as a surprise, then, that both books increasingly find readers in all the fields of the hu￾manities and social sciences. No one can say whether "the century will be Deleuzian," as Foucault-somehow ironically-predicted, but the reception of Deleuze's work in general, and on cinema in particular, is in this regard only at its beginning. Cinema I and 2 are difficult books, however, and their cross-disci￾plinary appeal makes it all the more important that their dense phil￾osophical arguments and underpinnings should be closely analyzed and unpacked. I hope that this study contributes to such a task and that it will prove helpful to all readers of Deleuze. My aim in this preface is not to map out the recent reception of Deleuze's work on cinema across disciplines. Such a reception is still in the making, and, to my mind, it is too early to attempt a general IX