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Deleuze and the Cinematic Sign

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Deleuze and the Cinematic Sign Revealing a Structure of Immanence: Deleuze and the Cinematic Sign ROGER DAWKINS A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy. School of Theatre, Film and Dance. University of New South Wales. July 2004. Abstract This dissertation is an analysis of the cinematic sign: it is a semiotics of the cinema. More specifically, it looks at Gilles Deleuze's cinema books and analyzes why Deleuze's semiotics rejects Christian Metz's thesis on the cinematic sign in preference for a version of Charles S. Peirce's philosophy of the sign, called semeiotics. Deleuze uses Peirce to account for an interrelated range of signs in the cinema, from the more conventional signs that have dominated film-critical discourse since Metz, to the purely affective and even temporal signs. The sign, for Deleuze, is first and foremost a representation of semiotic matter. I argue that Peirce's semeiotics affords Deleuze a way of developing this process of representation as it hinges on a relationship between Being on the one hand, and the sign on the other. Deleuze uses this relationship between Being and the sign to conceptualize the structure of the cinematic sign as a structure of immanence. His writings explain how matter is virtual, and how the sign, in the course of its representation, expresses the meaning that is potential to matter. I argue that this very immanence of matter and sign ensures an idea of signification that is not predetermined by ideological structures. I undertake two distinct analytical operations. First, I examine Deleuze's thesis on the sign's immanent structure. A key part of this is Deleuze's critique of structural analysis, and his continuation of this critique in his encounter with Metz in the cinema books. Second, I examine Deleuze's preference for Peirce's semeiotics. Through an analysis of a range of cinematic examples, I consider how he adapts Peirce's semeiotics to what he calls classical and modern cinema. I flesh out some of Deleuze's examples in more detail, and at times I also use some of my own. These range from Sergei Eisenstein's The General Line to Rob Cohen's XXX. This dissertation, then, is more than an exegesis of the cinema books. It is a practical application of Deleuze's semiotics that aims to show how his signs have a life beyond the theses he puts forward in the cinema books. Acknowledgements I owe a huge thanks to my two supervisors, Lisa Trahair and Andrew Murphie. Thanks are also due to my family, for standing by me and not asking "Are you finished yet?"; my friends, for dealing with my moods; and all the staff in the school of Theatre, Film and Dance, especially George Kouvaros for always giving me great advice. This dissertation is for Janine. Table of Contents Introduction. The Problem of Semiotic Matter and Expression in the Cinema: T awards an Immanent Structure of the Sign 1 Signaletic Material and Sign u Signaletic Material and Sign: Deleuze's Semiotics Rethinks Semiology 1v Peirce's Semeiotics is a Viable Alternative to Semiology vt My Argument (More Specifically) ix Chapter One. Metz's Semiology vs. Deleuze's Semiotics Introduction 1 Part One: Deleuze's Semiotics is the Remainder of his Critique of Metz's Semiology: 5 Metz: The Image is a Sign Because Narrative Acts as a Transcendent Structure Shaping its Matter 7 Deleuze and Metz: Two Different Perspectives on Hjelmslevian Matter: 12 1 Matter Presupposes Form 13 2 Matter is Independent of Form; Signs are the Emergent Forms of Matter 16 Part Two: Deleuze's Semiotics and The Enigma of Kaspar Hauser 21 Conclusion 26 Chapter Two. Deleuze's Semiotics: What Does it Mean to Say that the Sign is an Expression of Matter? Introduction 28 1 Matter is Not Directly Perceptible (Even Though it is Definitely There): It is a Symbolic Element of Language 32 2 Matter is Neither Signifying/Syntaxic nor Amorphous Because it is a Topology 34 3 The Creation of New and Original Signs is the Outcome of Deleuze's Thesis on Matter 38 4 There is a Temporal Component of Every Sign 41 5 A Language Involves Packets of Signs (Series) 44 6 There is No Transcendent Structure Because the Series Converge Upon an Emp!J Square (Which is Without its Own Identity) 46 7 For Deleuze's Conception of Language to Work, the Language Using Subject Must be Heroic 49 Conclusion 53 Chapter Three. Deleuze and Peirce's Semeiotics: Some Possible Points of Contact Introduction 55 Immanence: An Organism Evolves by Actively Adapting the Properties of an Environment 58 Peirce's "Parable of the Cave": A Metaphor Designed to Illustrate the Active Adaptation of an Organism to its Environment 65 Semeiotics: Nine Sign Elements and Ten Classes of Completed Sign 68 Some Implications of Peirce's Ontology and Semeiotics for Deleuze's Concept of the Sign 88 Conclusion 96 Chapter Four. Towards a Structure of Immanence: Deleuze and Peirce Introduction 97 Deleuze Identifies the Potential of Semeiotics 102 Deleuze: There is a Danger of Peirce's Signs Being Confused with Linguistic Signs 108 Deleuze Dispels Any Potential Problems with Peirce's Concept of the Categories 111 Deleuze Develops a Version of Peirce's Sign 119 Deleuze Uses the Perception-Image to Develop the Preliminary Sign Elements of His Semiotics on a Smaller Scale 127 Gaseous Perception and Its Sign Elements 137 Conclusion 141 Chapter Five. Deleuze, Peirce and the Cinema. Part I: The Movement-Image Introduction 144 The Affection-Image 153 The Action-Image 159 The Relation-Image 170 The Impulse-Image 180 The Reflection-Image 186 Conclusion 193 Chapter Six. Deleuze, Peirce and the Cinema. Part II: The Time-Image Introduction 194 Zeroness or Deleuze's Optical-Image: Another Principal Category in the Cinema 199 Time-Images/Chronosign Hyalosigns and the Special Kinds of Embodied Signs of Deleuze' s Semiotics 210 Mnemosigns and Onirosigns: These are Not Genuine Chronosign Hyalosigns 228 Conclusion 235 Chapter Seven. Deleuze, Peirce and the Cinema: Noosign Introduction 237 A Shock to Thought: Deleuze and Peirce 243 Thought and the Sign: Peirce's Interpretant and Deleuze's Noosign 249 Nineteen Principal Completed Signs of Deleuze's Semiotics 260 Conclusion 286 Conclusion. A Structure of Immanence 288 Works Consulted 295 Filmography 318 Jntrudu,:1i,,r, 1 Introduction The Problem of Semiotic Matter and Expression in the Cinema: Towards an Immanent Structure of the Sign In this project I will show how Gilles Deleuze analyzes the cinema and develops what I will call an immanent stmcture ofthe sign. My argument is that he arrives at this structure by developing a concept of expression in language (according to which the sign is the expression of a matter-or signaletic material). He does this in tandem with a reading of Charles S. Peirce's philosophy of the sign, called semeiotics. 1 Based on Deleuze's application of certain principles of Peirce's sign, my aim is to explicate this structure and the signs it generates. My aim is not to analyze these signs in relation to the historical context of the cinema, nor is it to undertake a critique of Deleuze's use of semeiotics. Since I am, in the first instance, a student of film theory rather than a Peircian scholar, my reading of the Deleuze-Peirce encounter staged in this project is secondary to my overall aim of showing how all of Deleuze's signs comprise a single semiotic structure that stands for the whole of the cinema. 1 In his correspondence to Victoria Lady Welby, Peirce describes his analysis of the sign as a science of semeiotics. See for example his letter dated Dec. 23 1908 (Semiotic and Signifies 73-86). In this letter he notes how semeiotics is a scientific and philosophical form of study based on the relation between the sign and three categories of Being. Charles Deledalle makes the same point, insisting on the importance of philosophy in Peirce's study of the sign. He writes: "Just as Saussure's semiology is a branch of linguistics, Peirce's semeiotic is a branch of philosophy" (1 ). In this project I will use the term semeiotics whenever referring to Peirce's theory of the sign. Elsewhere I will use the term semiotics. So I will begin by setting the stage for my exploration of Deleuze's semiotics. lbis project discusses what is peculiar and original about Deleuze's concept of the cinematic sign, outlined in his two volumes on the cinema (Cinema 1: The Movement-Image and Cinema 2: The Time-Image).2 Furthermore, the backdrop of my thesis is comprised of the structural paradigms of cinematic language, popularized in the 1960s by theorists such as Christian Metz. Signaletic Material and Sign I take as my starting point a key relationship Deleuze refers to in the cinema books. lbis relationship involves the sign on the one hand, and a signaletic material on the other. In the cinema books a sign is something that means something for somebody. lbis is a process of representation and, in it, meaning is created. Furthermore, _meaning results from the sign's presentation of the signaletic material. For example, a facial expression (like a grimace) is the sign of some qualiry of the signaletic material of the universe. Deleuze's determination of the signaletic material has a bearing on the role played by the sign. He describes the signaletic material in the following way: he calls it 1) an "a­ signifying and a-syntaxic material" even though, 2) "it is not amorphous" (Iime 29). From the first point, the a-signifying means that the signaletic material is not naturally a signifying matter-in other words, it is not naturally meaningful.
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