A rhizomatic cinema

Deleuze conceives of the rhizome as "an assemblage" which expands outward at random; rather than moving along direct, "vertical" paths (the "tree" model), the rhizome "encompasses a multiplicity."

But where is the cinema in all of this - what, can we (as media makers) make of all of this? Compared to the written word (the main topic Deleuze addresses within his introduction), the cinema seems much more bounded - within the frame, within classical cinematic conventions, within the division of labor (director, cinematographer, editor, etc.), within means of production, promotion and distribution, etc. How can we reach outside these conditions to "encompass multiplicities" within a film (aside from the obvious answers - that is "moving beyond the frame" through "expanded cinema"/installation)?

Speaking of Joyce, Deleuze writes, "Joyce's words... shatter the linear unity of the word, even of language, only to posit a cyclical unity of the sentence, text or knowledge." By the same token, a rhizomatic cinema must shatter the unity of the conventional/mainstream cinema, upset the order of our expectations, to move outside of it on chains of reference to encompass the whole of our modes of cinematic experience. It must create a space in which "the world has lost its pivot; the subject can no longer even dichotomize, but accedes to a higher unity of ambivalence or overdetermination."

Suggestions for a rhizomatic cinema
Stage an exhibition of anonymous YouTube clips; title it, "New Films, New Filmmakers."
Screen a marathon of all the films in the Friday the 13th slasher film series.
Create a shot-for-shot remake of a forgotten B-movie.
Edit clips from the TV series Law and Order: SVU into a feature-length romantic comedy.
Give the camera to someone else.
Make a "cam" bootleg of a feature film.
Select three mainstream Hollywood films; screen Act I (first 20 minutes) of the first, followed by Act II (20-70 minutes) of the second and Act III (final 20 minutes) of the third.
Recreate a porno film without any of the sex scenes.
Claim exclusive exhibition and distribution rights to the Lumière shorts, Le Voyage dans la lune (1902), Birth of Nation (1915), etc.
Release an old VHS bought at a thrift store as your first feature film.
Hire an independent company to make your film for you.
Scratch DVDs and then return them to the video store.
Do something boring.
Etc.