Name: Cinema 2: The Time-Image
Author: Deleuze, Gilles
ISBN: 9780816616770

Cinema 2: The Time-Image

by Gilles Deleuze

University of Minnesota Press, 1989
Paper: 978-0-8166-1677-0
Library of Congress Classification PN1995.D39313 1986
Dewey Decimal Classification 791.4301

TOC

TABLE OF CONTENTS

Contents

Preface to the English Edition

Translators' Introduction

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 still lifes– Time as unchanging form

3
The intolerable and clairvoyance– From clichés to the image– Beyond movement: not merely opsigns and sonsigns, but chronosigns, lectosigns, noosigns– The example of Antonioni

Chapter 2
Recapitulation of images and signs

1
Cinema, semiology and language –Objects and images

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).

3
The time-image and its subordination to the movement-image– Montage as indirect representation of time– Aberrations of movement– The freeing of the time-image: its direct presentation. The relative difference between the classical and the modern.

Chapter 3
From recollection to dreams: third commentary on Bergson

1
The two forms of recognition according to Bergson– The circuits of the optical and sound image– Rossellini's characters

2
From the optical and sound image to the recollection-image– Flashbacks and circuits –The two poles of the flashback: Carnéb, Mankiewicz– Forking time according to Mankiewicz– The inadequacy of the recollection image

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

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)– The ambiguous question of the film within the film: money and time, industrial art

2
Actual and virtual according to Bergson– Bergsonian theses on time: the foundation of time

3
The four states of the crystal and time– Ophüls 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

Chapter 5
Peaks of present 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, Buñuel– Inexplicable differences– Real and imaginary, true and false

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

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

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

2
Orson Welles and the question of truth –Critique of the system of judgement: 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

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 ‘cinéma vérité’– The before, the after or becoming as the third time image

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 The question of metaphor: the most beautiful metaphor of the cinema– Third aspect: the equality of image and thought, the link between man and world– Thought, power and knowledge, the Whole

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 int his world (Dreyer, Rossellini, Godard, Carrel)

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

Chapter 8
Cinema, body and brain, thought

1
‘Give me a body, then’ –The two poles: everydayness 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

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

3
Cinema and politics– The people are missing …–The trance– Critique of the myth– Story-telling function and the production of collective utterances

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

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

3
The third kind of speech-act, act of story-telling New– readability of the visual image: the stratigraphic image– Birth of the audio-visual– The respective autonomyof 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

Chapter 10
Conclusions

1
The evolution of automata– Image and information –The problem of Syberberg

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

3
The usefulness of theory in the cinema

Notes

Glossary

Index

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