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. 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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.