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Cinema 2: the Time-Image

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Cinema 2: the Time-Image m The Time-Image Gilles Deleuze Translated by Hugh Tomlinson and Robert Caleta M IN University of Minnesota Press HE so Minneapolis fA t \1.1 \ \ I U III , L 1\) 1/ ES I /%~ ~ ' . 1 9 -08- 2000 ) kOTUPHA\'-\t. r'Y'f . ~ Copyrigh t © ~1989 The A't1tl ----resP-- First published as Cinema 2, L1111age-temps Copyright © 1985 by Les Editions de Minuit, Paris. ,5eJ\ Published by the University of Minnesota Press III Third Avenue South, Suite 290, Minneapolis, MN 55401-2520 f'tJ Printed in the United States of America on acid-free paper 1'::>55 Fifth printing 1997 :])'''::''531 ~ Library of Congress Number 85-28898 ISBN 0-8166-1676-0 (v. 2) \ ~~.6 ISBN 0-8166-1677-9 (pbk.; v. 2) IJ" 2. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or othenvise, ,vithout the prior written permission of the publisher. The University of Minnesota is an equal-opportunity educator and employer. Contents Preface to the English Edition Xl Translators'Introduction XV Chapter 1 Beyond the movement-image 1 How is neo-realism defined? - Optical and sound situations, in contrast to sensory-motor situations: Rossellini, De Sica - Opsigns and sonsigns; objectivism­ subjectivism, real-imaginary - The new wave: Godard and Rivette - Tactisigns (Bresson) 2 Ozu, the inventor of pure optical and sound images­ Everyday banality - Empty spaces and stilllifes - Time as unchanging form 13 3 The intolerable and clairvoyance - From cliches to the image - Beyond movement: not merely opsigns and sonsigns, but chronosigns, lectosigns, noosigns - The example of Antonioni 18 Chapter 2 ~ecaPitulation of images and szgns 1 Cinema, semiology and language - Objects and images 25 2 Pure semiotics: Peirce and the system of images and signs - The movement-image, signaletic material and non-linguistic features of expression (the internal monologue). 30 3 The time-image and its subordination to the movement-image - Montage as indirect representation I of time - Aberrations of movement - The freeing of I the time-image: its dirt!ct presentation. The relative V- difference between the classical and the modern. 34 Chapter 3 From recollection to dreams: third commentary on Bergson The two forms of recognition according to Bergson - The circuits of the optical and sound image- Rossellini's characters 44 BOGAZiC;i UNivERSITESi KOTuPHANESi 1111I1I II 11111 I11I1 414359 VI Contents 2 From the optical and sound image to the recollection­ image - Flashbacks and circuits The two poles of the flashback: Carne, Mankiewicz - Forking time according to Mankiewicz - The inadequacy of the recollection- image 47 3 Larger and larger circuits - From the optical and sound image to the dream-image - The 'implied dream': movements of world - Spectaculars and musical comedy - From Donen and Minnelli to Jerry Lewis - The four ages of burlesque - Lewis and Tati 55 Chapter 4 The crystals of time "'-- , 1 The actual and the virtual: the smallest circuit - The crystal-image - Indiscernible distinctions - The three aspects of the crystalline circuit (various examples) - J­ The ambiguous question of the film within the film: money and time, industrial art 68 2 Actual and virtual according to Bergson - Bergsonian theses on time: the foundation of time 78 3 The four states of the crystal and time - Ophiils and the perfect crystal- Renoir and the cracked crystal­ Fellini and the formation of the crystal-The problem of film music: sound crystal, gallop and ritornello (Nino Rota) - Visconti and the decomposing crystal: the elements in Visconti 83 Chapter 5 Peaks ofpresent and sheets of past: fourth commentary on Bergson. 1 The two direct time-images: coexistence of sheets of past (aspects), simultaneity of peaks of present (accents) - The second time-image: Robbe-Grillet, Bunuel­ Inexplicable differences - Real and imaginary, true and false 98 2 The first time-image: the sheets of past according to Orson Welles - Questions of depth and field - Metaphysics of memory: useless summonable recollections (recollection-images), unsummonable recollections (hallucinations) - The progression of Welles's films- Memory, time and earth 105 Contents Vll 3 Sheets of past according to Resnais - Memory, world and the ages of the world: the progression of films­ The laws of transformation of sheets, undecidable alternatives - Long shot and short montage - Topology and non-chronological time - From feelings to thought: hypnosis 116 Chapter 6 The powers of the false 1 The two regimes of the image: from the point of view of descriptions (organic and crystalline descriptions)­ From the point 'Of view of narrations (truthful and falsifying narrations) - Time and the power of the false in the image - The character of the forger: his multiplicity, his power of metamorphosis 126 2 Orson Welles and the question of truth - Critique of the system ofjudgement: from Lang to Welles - Welles and Nietzsche: life, becoming and power of the false­ The transformation of the centre in Welles - The complementarity of short montage and the sequence shot - The great series of forgers - Why everything is not equivalent to everything else 137 3 From the point of view of the story (truthful story and simulating story) - The model of truth in the real and in fiction: Ego=Ego-The double transformation of the real and fiction - 'I is another': simulation, story­ telling - Perrault, Rouch and the meaning of 'cinema­ vente' .:.- The before, the after or becoming as the third time-image 147 Chapter 7 Thought and cinema 1 The ambitions of the first cinema: art of the masses and new thought, the spiritual automaton - The model of Eisenstein - First aspect: from image to thought, the cerebral shock - Second aspect: from thought to the / image, the figures of the internal monologue - T~ ~ questiotL()f Il!~Ephor: th~_ most ~_eau~f~~etaphor of l/ the cinema - Third aspect: the equality of image and thought, the link between man and world - Thought, power and knowledge, the Whole 156 viii Contents 2 The crisis of the cinema, the break - Artaud the precursor: powerlessness to think - Evolution of the spiritual automaton - What the cinema is essentially concerned with - Cinema and the Catholic church: belief, instead of knowledge - Reasons for believing in this world (Dreyer, Rossellini, Godard, Garrel) 164 3 A theorematic structure: from theorem to problem (Astruc, Pasolini) - The thought of the Outside: the sequence shot - The problem, choice and the automaton (Dreyer, Bresson, Rohmer) - The new status of the whole - Interstice and irrational break (Godard) - The. dislocation of the internal monologue and the refusal of metaphors - Return from the problem to the theorem: Godard's method and the categories 173 Chapter 8 Cinema, body and brain, thought 1 'Give me a body, then' - The two poles: everydayness -o.::~ f and ceremony - First aspect of the experimental cinema - The cinema of the body: from attitudes to gest (Cassavetes, Godard and Rivette) - After the new wave - Garrel and the question of the cinematographic creation of bodies - Theatre and cinema - Doillon and the question of the space of bodies: non-choice 189 2 Give me a brain - The cinema of the brain and the question of death (Kubrick, Resnais) - The two fundamental changes from the cerebral point of view- The black or white screen, irrational cuts and -------. relinkings - Fourth aspect of experimental cinema 204 3 Cinema and politics - The people are missing ... - The trance"':: CrItique of the myth - Story-telling function and the production of collective utterances 215 Chapter 9 The components of the image 1 The 'silent': the seen and the read - The talkie as dimension of the visual image - Speech-act and interaction: conversation - The American comedy­ The talkie makes visible and the visual image becomes readable 225 Contents IX 2 The sound continuum, its unity - Its differentiation according to the two aspects of the out-of-field - The voice-off, and the second kind of speech-act: reflexive­ The Hegelian or the Nietzschean conception of the music of the cinema - Music and the presentation of time 234 3 The third kind of speech-act, ~t of stQ!Y-telling - New readability of the visual image: the stratigraphic image - Birth of the audio-visual- The respective autonomy of the sound image and the visual image - The two framings and the irrational break - Straub, Marguerite Duras - Relationship between the two autonomous images, music's new sense 241 Chapter 10 Conclusions 1 The evolution of automata - Image and information - The problem of Syberberg 262 2 The direct time-image - From opsigns and sonsigns to crystalline signs - The different kinds of chronosigns - Noosigns - Lectosigns - Disappearance of the flashback, the out-of-field and the voice-off 270 3 The usefulness of theory in the cinema 280 Notes 281 Glossary 335 Index 337 Preface to the English edition Over several centuries, from the Greeks to Kant, a revolution took place in philosophy: the subordination of time to movement was reversed, time ceases to be the measurement of normal movement, it increasingly appears for itself and creates paradoxi­ cal movements. Time is out of joint: Hamlet's words signify that time is no longer subordinated to movement, but rather move­ ment to time. It could be said that, in its own sphere, cinema has repeated the same experience, the same reversal, in more fast-moving circumstances. The movement-image of the so­ called classical cinema gave way, in the post-war period, to a direct time-image. Such a general idea must of course be qualified, corrected, adapted to concrete examples. Why is the Second World War taken as a break? The fact is that, in Europe, the post-war period has greatly increased the situ­ ations which we no longer know how to react to, in spaces which we no longer know how to describe.
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