Are your students baffled by Baudrillard? Dazed by Deleuze? Confused by Kristeva?

Other beginners' guides can feel as impenetrable as the original texts to students who "think in images."" Contemporary Thinkers Reframed" instead uses the language of the arts to explore the usefulness in practice of complex ideas.

Short, contemporary and accessible, these lively books utilize actual examples of artworks, films, television shows, works of architecture, fashion and even computer games to explain and explore the work of the most commonly taught thinkers. Conceived specifically for the visually-minded, the series will prove invaluable to students right across the visual arts.

Deleuze disdains easy answers. Yet easy answers to Deleuze are what students need. Without reducing Deleuze's complex body of thought to simplistic solutions, this very contemporary guide leads the reader into the world of Deleuze's spiralling thought through concrete examples from art, film, TV and even computer games. From "Eternal Sunshine of the Spotless Mind "and "The Cell" to "Pac Man" and "Doom," and from the work of Robert Mapplethorpe, Coco Fusco and Rachel Whiteread to "Lost" and "Doctor Who," this easily digestible introduction looks at the key ideas promoted by Deleuze, both in his own work and in his notoriously difficult collaborations with Felix Guattari, to make them both fresh and relevant to the visual arts today.

Cinema and photography are both intimately associated with time-cinema with time in passing, the photograph with the lost moment. In Photography, Cinema, Memory, Damian Peter Sutton explores time in both media to present a radical new understanding of the photographic image as always coming into being. Drawing on Gilles Deleuze's concept of the crystal image to move beyond the tropes of immobility, stasis, and death, Sutton's analysis reveals the open-endedness of time expressed in the photograph, either as a potential for an abundant future or as a depth of meandering remembrance. He presents an innovative taxonomy of time in the photograph, considering particular representations of time in the work of Nan Goldin, Eugene Atget, Andy Warhol, and others. He contrasts this taxonomy with representations of time in cinema since 1895, offering fresh readings of the films of the Lumiere brothers and Mitchell & Kenyon, as well as more recent works including Eternal Sunshine of the Spotless Mind, Amelie, and A Matter of Life and Death. Throughout this work, Sutton connects and grounds cinema and photography as starting points to comprehend how we come to terms, ultimately, with time itself as pure, immanent change.