DELEUZE cinema 2 he time-image sniLosoPHy JnCinema 2 The Time-lmage Gilles Deleuze Translated by Hugh Tomlinson sand Robert Gata ‘The Athlone Press LONDON’is Pua in Great ain 89 ha Dive, bandon NW 786 priate 2000 Pear, Trantor ltodton and etalon (he lone Pr 189 SlatdonddMints ‘hi ibrar Ctogag ia Puli Data ‘eataoguerecordjor books anabe Athen tary ISBN 0485 0597 8 ‘Alright rseve. No pu ofthis publeton maybe produ, ‘ore in aren ytem, or transmit ay for yay ean, Secon mechani, peecpsing others, ia rt ersion in wrting rote pb, 0113173 rarer eamante carn ON era 2\ BROS Rey pa Contents Prefaetothe English Edition ‘Transstors Intestin Chapter 1 Beyond the movement-image 1 Hows ne-realiam defined? — Optical and sound Situations, in contas wo sensory-motor scuations Rosselin, De Si ~Opsigas and sonsigns:objectivian- ‘subjctivism, real-imaginary ~The new wave: Godard Everyday banalty — Empty spaces and sil ifes~ Tine se uneanging form “The intolerable and cirvoyance— From clichés tothe Image~ Beyond movement not merely opsigns and ‘Sonsgns, bt chronosigns,lectosigns, nosigns The ample of Antonion, Chapter 2 Recapitulation of images and signs Cinema, smiology and language ~ Objects and images 2 ure sembons: Perce and the system of ages and Signs The movement mage signal material and homing Features of expression (he internal ‘monalque) 13 Thetimesmage and its subordination othe ‘morementimage ~ Montage a niret representation ‘ttime= Aberetion of movement—The freing of ‘he time mage ts dingt presentation. The relatne tlference between the casa and the modern Chapter 3 From recollection to dreams: ‘third commentary on Bergson | Theo formsof recognition azordingo Berson ~ ‘The cireuis ofthe opaca and sound image 18 0 enWw Contents 2 From the optical and sound image tothe reclxtion- image Flashbacks snd iret The two poles ofthe Rasthack: Carne, Mankiewcs- Forking cine scordi to Mankiewir™ The inadequacy ofthe tecellecson 3 Larger and larger circuits From the optical and sound image othe dream smage The ipl dream’ tmoverentof world Specacuars and musa! ‘comedy ~ From Donen snd Manel to Jerry Lewis “The our ages of burlesque Laws ad Tat Chapter 4 The crystal of time 1 The aca an the virtual the smallest cicit—The crysakimage-Indacernbl ditinions ~The three ‘pect of the cryin rent aris examples) = The ambiguosn question ofthe im within the fm ‘money and ine dt a 2 tual and viral aeording to Bergin — Berguonian {theses om ime: the foundation af time 3 The four satesofthe crystal and time —Ophatsand the perfect eytl = Renosrand the cracked crys — Fell and the formation ofthe ystal= The altima sun apa el n 5) Visco andthe decomposing crystal: he ements Vicon sm Chapter 5 Peaks of present and sheets of past: fourth commentary on Bergson Roo eeees per ante ae es weir ate wastan enm a a 8 os * 8s Contents vi ‘Shee of pas according to Resnai— Memory, work! and the ager ofthe worl the progression of fms ‘Thelawsof wansformution ofsheets, undecidable aterntves~ Long shot an short montage = Topdogy {and non-chronologal ime Prom felngsto ‘aught bypost 16 Chapter 6 The powers ofthe false “peo th eto hpi Piglet irate Bec en I tnt eee eae writer antag sla et tae ts Seat ete Eat Sete penn ain SREP te Reta sfiecec ba he Sioa oe era ae Sreinipalecringe! Mopnentare mute sagt ts Face 2 a fanfare iacelaetlg ante cadansec! iene” ooate See ah eae Saari Chapter 7 Thought and cinema ' “The ambition ofthe fat cinema rt of the massed few though, te sproal stomatin="The model af Eensein~ First aspect from image o thought the (Cerebral shock Second aspect: from thought tothe ‘mage, the gore the ternal monologue ~ The ‘quetion of tetphor: the mont beautiful meaphorof Teenema—Thind spec: theealtyoffaage and ‘ough the Unk between man aid world ~ Though, power and knowledge, the Whole 1862 Theerssofthe cinema the break Are the precitsor:powerlesem to think —Fsolion ofthe Spiritual automaton - What thecinema i estetaly ncerned with ~ Cinema te Catholic creh ti, instead af knowledge ~Ressons for believing in this world (Dreyer Roslin, Codard, Carrel) 14 3 Atheorematicstrscture: from teorem to problem (struc Pasolini) ~ The thoughvof the Oude: the ‘sequence shot~ The problem die snd the {iulomaton Dreyer Bresson, Rohmer) The new Status of the whole Intersice snd iraconal beak (Godard) ~The dsiocaton of theinteral monologue lad the refusal of metaphors Return rom the problem tothe theorem: Godard’ method and the Gtegoris| ns Chapter 8 Cinema, body and brain, thought "Give mes boy, then’ ~The wo pole: everydayness and ceremony” First spect of tt experimental ‘inema~ The cinema of the bey: rom ates t0 ies (Castes, Godard and Rheste)~ After the new Stave Gartel and the question the cinematographic ‘eaton of bodies ~ Teste and nem = Dotto nd the question ofthe apace of bodes: wo-choice 19 2 Givemeabrain= The nem the bain andthe ‘question of death (Kubrick, Resas)~"The two, {ndamentalchange from the cerebral point of view — “The blac or whteseren, irrational cut and Felinings Fourth aspectof experimental cinema 304 ‘Grnemattnd polis The people sre missing === The trance ~ Criugue ofthe myth Seoryteling funcion and the production of ealleaiveuterances 215 Chapter 9 The components ofthe image 1 The lene the seen and the reid ~The talkie st dimension of the vial image - Speech act and {teraction converstion = The American comes — ‘The alk males vile and the vital image becomes readable 205 Contents 2 "Thesound continuum, ts uniy— I diferensation according wo the two aspects ofthe ot of eld The ‘oie and the second Kind of speech act eflesive— ‘The Hegelian or the Nietxchean conception of the rmusicof the cinema Music andthe presentation ‘The thied kind of speech-act act of story eli — New ‘readability of the visual nae: the stratigraphic image Birthof the sudioinual-“The respective sunny ‘ofthe sound image and the vial image ~The tre {ramings and the raional break ~ Straub, Marguerite Duras Relationship between the wo autonomous images. musics new sense Chapter 10 Conclusions 1 Theevlution of astm The problem of Syberberg 2 Thedrect me image ~ From opsgns and sonsigr to [As forthe distinction between subjective and objective, & alto tendsto se isimportanc, othe exten that the optical sation for vial description replaces the motor action. We run i fact {no principle of indeterminablty, of indicermbilty: ne mo longer know what isimaginary of rea, phycal or mental the sittaon, nox because they are confused, but becaute we do no Ihave to know and there no longer eve place Irom nhc ask isan the real and the imaginary mere ranning afer each ‘thers feach war being reflected nthe other around pinto {ndincernbiny. We will revurn to this pon bu aleady hen Rolibe Gril provides his reat theory of deseriptons he being by defining tradiional reali description: tf tht which presupposes the independence of ts objet and hence proposes {Tscertaty of the Fal snd the imaginary (hey can heome ‘onfused, but none the less by tight they remsin dln) int "description inthe wteow rman ix comperely ince itp isan objet on the one hand erases ‘or doar its reality which passes into the imaginary, but om the ‘ther hand it powerfully brings ot al the reality which the Imaginary or the mental rete hrough speech and vision." The imaginary ad te real became indiscernible. Robbe-Grlet wil become more and more conscious ofthis in hit reflecion othe eau roman ad the cinema the moat bjetivit devernants ‘Sonex prevent their realizing a toaleabjocity. Thais wa ‘embryonic fom the wat of alan neo-reaim, ad what makes [arth remark tht Lat Yarn Marnbadiste ast ofthe great corral es”We can already seen Felina partici subjecve, mental, recllaaion oF fa ‘rpm ino a specacie without becoring objective, witout fplngbchind the ener ese rent of these thse {Shetaatet whine rom who are aborbed in it he mental ow oC a"Uhoracer soled up by other proliferating “hraershati meinen rho ating penpeaier enden'a neural, wnpersnal von all eur on thence the portance ofthe leat 82):* Conver {ahs in Antonioni, ra the most objective images are not FeRet without becoming est ad Roing imo s range Invaibe sujet. Tot erey thatthe method of report havtobe applied ofecingsstheyexstin avocado dra From them wach comenpcies tare internally developed in haraens Ero tt soxy of fectings which go from the ‘Sbjct to te subjective, and are ineruained in everyone. In tht cope Antonina Gosrto Niesache ha Mar feeb the only comtemporary author to have taken up the Nictschean poet of eaeiogue of morality aed thisthanks {ba aympronatsiogst method. Bat rom yet another point of New We nouceable hat Amioion’s bjesive imagen, wich Tipersonaly follow + Becoming, hatte = development of fonoequencs in a nor re) note the les are sujet to apa reat inerpoltions tnd’ infitsimal injections. of temporality or example the Mt scene in Sty of a Lane Af. Welne returned once more to he frst for of the ay-apace huterer daconneced spuce The connection of the pars of pce ot giver becate & can come about only fom the Wibectve pola of view of a churacter who hy nevetelem, Stelme o hs een dicppesed nt simpy ot of Fame bat ‘eset the vou, In Te sso, trma noon the bse ‘ibetive thomght ofthe hero who rs away Forget, ut the imaginary gare under whic th fight takes place and connecs ison scpents gue whichbevomes rela atthe moment [tdenh And abo ln Te ven, he vanished woman ‘lots anindeterminable act weigh on the couple = whe fies them the comin cing of being spied on nd which tpn te lack of conordiation of thelr abjctive movement, Sion they flee whist pretending to tok for her. Agni Tdi oe Woman the whol ques or invention thes ‘ce under ihe presumed guncofthedeparted womsn cone Ing thom we wi wor kow inthe marvelous tages st end Beyond the movement image ° whether oF not she has sen the ero cared pin he Ht cage. The imaginary gave makes the real something imaginary, tthe same dime ts Win crm becomes Teal and ies ack ome Feaiy. tis ike a creat which exchanges, cores, sles and {ends us off agin. From The Eee ervard, the sny-opace: sthstever had achieved second frm: empy or desened space. ‘What happened that. fomone reuttothe exe the characters were objectively emptid they are sufferings from the abnence SFanotier ttn from thet absence fro themselves (or ex Simple, The Penne) Hence, tis space refers tack apn othe itt gure ofthe bing wo absent ron the worlds much at {orn himself, and at Oller says ins phrase which ste forthe ‘hole of Antonions work, replacerradional dana with 3 Tin fot! dame lived by the character: Tabor. purcoptial and sound stuns can ave to poles cijectne ad subjective. real andmaginry. psc ad ental Baty eee aug chee he ps ‘usrantee passages and conversions, tending towards point of rscernisy and nto confusion), Suck usytem ofexchange tawrenthe ogy andthe ol pea al nV "The Pench new wave cannot be define inlet wer 1 see tow ic has retraced the path of Kalan neoreaem for om purposes even fit meta going in other directions aswel. In far the new wave, ont Ars appronimation, takes up the ‘previous out aga: froma loosening ofthe sensory-motor ink {thcarot or wandering te bald the events wich concern no Se.) he copa dation, Hee agin ‘Stcinacf weing placer acon:FTatibeongsto the new ae, i etree balla he fay oles a Tat ape in these "burlesque whose impets ames om purely optical and, in parce, sound, situation. Godard Begins with some extraoeinary bls rom Bras to Perel ‘Jonandtendstodraw ot of them whole word of pign ad ‘Graig which already const the new trage Gn Prefs the psge fom the temory.motrkaneing dunno what doko he pure poe sung snd danced, the ne of your hips). ‘An thee images touching or tril, ake on an ever grester ‘tonomy afer Made tu ESA: which maybe summed Up as fatows7h nese providing ts witha series of reports wih hehe concluon or logeal connection = wieut realy0 Cinema 2 effective reactions." Claude Oe ay hat, with Made in USA, {he inert hallucinatory character of Godard works afirmed {or fact in an at of deseripten which alway being renewed and alway replacing objet ™ This deseripove oben Jintao and crn didactic unaning ari offs, fom ‘Tao or Thee Things I Kaw shat Her, to Sine Maton, where ‘eflecion uno sinpy fared onthe content of thelmage baton ‘storm, is means an fonction, is asfeaons and create, ‘on the relations within it betwen the sound dimension and the ‘prc Godard has ite pense with or spat for fantasies: ‘ker Maon wil show uate dscomposiion of sexta fanany int is acparte, sbjecve clement nual and then of sound. Butchisojeavsm never losers eset fore. nial serving 2 poles of the image the aesthetic force is powerfully brought ‘nt forts own sake Paso the free bla of pictorial td Isa ages ap ter ten, wht at the other end the ‘Semorymotor linkages are best by inion (he stutering oF {he female worker te the bos cough). Paton nth ete, ‘wings toe greatest intnaiy wat wa sea aking shape in Le igs when ee witnened the sensory-motor fare Of ie ‘ovupl inthe racional drama, atthe sme tine 2 the optical ‘epresenaton ofthe drama of pes and the gaz ofthe gd Arik Free Lang a the inereemor. was soaring. upwards “Throughout all these fms thre va creative elton which 3 thatofa vionary Godard For Rivet pode Nord has cea these perfection of proisonal summary a Panionfr Godard fs the ballad of wo range women solr to whom grand vison ofthe stone fons fans present pure pica and sound stations ns kind of taliour sabes and ladders where they repay the hallucinatory ‘drama of Dom Quote But, fom the sme sara poi ive se Gon scem to mare the two contrasting ae ‘Ths boca, with Riven, the break inthe semoryenonor Sitters ~ tothe bene of optical and sound stations =i ‘connected wo knowing sbjetvam, an empath, which mos frequently works through ‘ase, memories or prewdo ‘memories. and fndsin them augue gaiety and ighenes (line (hu Jule Go Boating incerta one ofthe greatest French comic Fim slong withthe work of Tat, Whibt Godard drew impr ‘ton from the sip cartoon at 9 mont rue anid ting, Rive ‘doches his unchanging theme cf un neernatonalconspiticy nan Stmowphere of fable'and chilrens gamer Already In Pars Beynd the movement image n ong Us he wl cainates ina wight fas where the ‘iyscpe hat no rely or connections other than those en y ‘ude An anon uo Boatng ser the el park ‘ithe il with double hs witnen he pure pein of het fenasa you gil whose hes thestned nfm one the double orrather the woman dbl le deal herself rst th theo moe svc thn thks the $ciemicl poston, she introduces herselfintothespecade which to longer fa sewers, tat only Behind the seen ae nly ‘ives the child rom er appointed fateasa lite bout ake hero imu the distance thee no more cheer fy tale Tost des ot even haveto gestae spectacle the eros the Spectace, the solar woman and the hina woman who have steady passed nto the rea, andr he goof te nage sone {rack down, make dapper or Hl ne sat vingcharoters who ‘ould aii expe of beng wines Rivet cou be si tobe the mont French ofthe new wave author. But French here has nothing odo with what hasbeen fle the French quality Ie rater i theseme of he pre-e French school whenit dicver, folloming the painter Doan. that there mo struggle between ight Saree expe Sonny, but an aerntion and due ofthe un and the mon, scichare bth light, one consting Gear, cain tmovement of compersntary colours the ster » fate and tienen movement ofjarringbidescent colour che two geet making up and projecting Sn cert mirage onto theca = ‘Thisthecas wath Tonight Thisithc ean i Merge sound sheet derpton mae of ht and eaoursconsandy begs 1zuin in orer to eterte ty eject Rives takes othe ihest level in his art of light A his heroines are daughters of {reall his work under he spn the enh the mt French of fim makers it nthe sense at Gerard de Nerval {ould be called the supreme French po cold even bee he ‘God Gera singerof the ede anc, jalte Ret sings of Parva trans ret Whe Prous ans hae where is hind all these names that were spied o Neral, be eps thane some ofthe grates poetry thu ere ashen the word, and madnes Hoel or the mage to hich Neral ‘cumbe orf Nerval ces t se, and wl nthe Valo, heeds thik ome vai hic ban wei hs acne toryetuon, tothe pont where we na longer have yes wha Present or pnt mentale pyical He neds the He de Face12 Cinema 2 thera ethesponh ado ciljeta eet pape ae te tar Rea ptr een Se ee recast one arse bears rer Ce en ee a endl mae Feat fom py cijeion of Ri Ta es cancel iru eet se te beat oy aia ba Se ot Se Nt they compe) eae, Bec sere pl soe seeped a yest Tea ioe preep erent ter ened Sritonagett tama See est ial sen nin nh rsh leon rn een aan al ond so Oe, ee a we ta ae ae alee eget ce eden sae Scie ly tat ya a athe pe oe il w note a ee tapes vA oped So en ee ae See reas Ene tin ars er ne ae ats oven Te, See re eect basen mre het rea ee emer ing oe nda Sree ey ees elis eto cr ee ie pe ae ee pay oe Se ore re acct tang hate annem’ tele n, in ae ein Wnt ad ae mace eed fap, agp eR ‘ears ee fe ons ee ge Si edema See a Pen cricn eons nose Sone deonoct Tan eee ree oman Beyond the movement image 13 through ther seang an objec, but dhrough brushing it resting Itimits movement, giving another direction, pas iron and ‘nakingitdreulate tn this space The hand doubles apres {uncion of objec) bya connective function of ype) at From tharmoment tithe wholeeye which doubles opal ttn hy speateally grabbing (hopoqu] one if we oll Rieg ‘mula for indicating touching which speci to the gaze Te Breon,opsgns and sonaigns cana be separate from gcmuine tatbigns which perhaps regulate their relations hi the ‘rial Of Breton’ any space whatever) 2 tut ea bi fm ote ent ace ae on one nies body of work which waste ft to deve Par sped ad Sea a eee i! areas Site eae ee eae an rope au anager ton nae eed ane et cbc fmt Talyornt gti noartaah ter ound a etijer ey ty abe cere cee nne an eas pee ane ar SSeS ence inp amhoesun Gert cie e Sora Reece an ona emperor aie montage ait ih wll domi mers tinea’ 8 purty Seamer eceinage a Po ocelot fom ten Scns, Be Cer L cata toa Scare rasten es inp estes laene pean ote posi nos aoe ee te at ee“ cinema 2 ‘banal nature and conservation eonsiuting the essential of the Serpt (thi & why the only things that count ate the choice of {icone socording to their physica nd moral appearance and the ‘cablahment of any dalogue whatever, apparently without & precise subject-matter” clea hat his method immediately presents dle periods, and east their create inthe course ofthe i. OF course. ‘he lm proceeds, might thought tha the idle periods are no longer important simpby for emelves but recoup the effet of meting important the tho er the line would, om this vw, be ‘ntended by aque long slenceor emprines. But x definitely tot the cate, ith Ons, that ve get the remarkable end the ‘rdinay, nications gnd bal ones, the former having a8 ‘Hlect om, or purposely iainating themselves nt the later. We ‘anno follow Paul Schrader when be contrat, He two phases “the everyday’ om one hand, and, onthe othe, the moment of lecston’ the dopa’, which troduce an inexplicable break or ‘oto into daly banality” Thi tinction would seem stricly ‘more eld for neo-reaim. In Oru, everything is ordinary oF Ina, even death and the dead who are the objet ofa natural forging. The Famous scenes of sudden eas (hat of the father in An Autumn Afternoon eho starts t© weep sen) afer his ‘daughters wedding, that of thedaughtern Late Spring who hall Smiles she looks at her leping father then finds herself onthe Serge at tenrs hao the dager in Demarcaprice who makes {hulpeomment abou her ded ater, then urs into teas) 30 ‘or mark out + tom period wich might be contrasted with the ‘teak pers in the fa of ie, and there ino ream ose the emergence of repressed erwon ay ‘eesve ston “The phlosopher Leni (who war not unaware ofthe exist cour althe hiner philwopew ewe hat the world cade Uplo srce which ae composed and hich converge ina very ‘euler way, according to ordinary lave However the serie 3d. Sequences ae apparent to roel in small sections, and in 3 ‘erupted or med-up order, 10 that we believe in breaks, ‘Gepariies and dcrepancis min things that are Out of the ‘onfnary. Maurice Leblane wrote very good serial which comes {done os Zen kind of wisdom: the hero, Balthazar, profesor of ‘very pilowophy”eachesthat thee snothing remarkable or sceptional in ie, that the oddest adventures ae easly xpltined, and that everything made upo ordinary things ™ Tt {ejust that we have to admit tha becasethelinkagesofTeterms Beyond the movementimage 15 inthe series are naturally weak, they are constantly upset and do Ihtappearin order. An ordinary term gos out of sequen, and Cinergesin the mide of anther sequence of ordinary things felaion to whichittakesonthe appearance of strong tome a Femarble or emplex pint Itimen who upet the regulary iacries the continuity ofthe universe There nu time fore ‘ne or death, atime or the other atime forthe daughter, bt foemnis them up, make them appearin diorder eet them up Cont: Ths is Oz’ thinking ie is simple, and man never Sops complain i by disturbing stl water (as in the three Clmpanions sn Late Autena). And a after the war, Or's work ‘ioe at al fall feo the devine that has sometimes bees Sggested its Because the post-var period eps cone his {hk butby renewing’, by reinforeing and going beyond the theme of coafiaing feneranons: American ordinariness helps breakdown what ordinary about japan dasha wo exryday ‘ales which seven expressed in colour when Coca Cla ed or Paste yew vem iterrupt te series of washed-out ne [Pc tones of Japanese fe? Andy the character eye The Favour af Gren Teor Rr what ifthe opposite ad occured it ‘SL simien und geisha wig had suddenly been introduce to ‘he everyday banality of Americans.” On this point it seems to Us that nature does not a Sehrader believes imervene in tlecive moment or in Gear brea: wit evesydey sean The Splendour of nature of «snow-covered mountain, tls one ‘Ting only: everything i ordinary and ering tverday! Nature happy to renew what an has brokes, she ‘estores what man seesshatered. And when acharacereverges ‘ors moment roms family confict ot wake to contemplte the snow-covered mountain ia if he were seeking to restore 10 border the series upset in hs house but reinstated Wy an uncha "ig. regar nature, usm an equation that proves ws wih ‘eau for apparent breaks, for the turns and returns the highs i hes Leds pe Daily Tie allows only weak sensory-motor connections to survive, and replaces the action image by pure optical and ound Images opaigns and sonsigs In Ors, there mo univer line ‘eich connects moments of decison, and link the dead othe ling. aim Mizoguchis ori there any breathing spsce oF ncompaner to contain 4 profound question, asin Kuresawa ne spaces are raised to the nate of any-spaceawhatevers, whether by disconnection, or vacuity (here again Oru tay be6 Ginoma2 ‘considered one ofthe frst inventor) The false coninity of fue, of direction and even of te poston of abject are constant SET acre Gee cow of caters owemete pres = good ‘ample of dconneton in fur Summary the even oes {orwadon poe osurprisesoneoneinarexauran the camera raving backinordertohecpherinthecente of therame then the camera goes foward toa corridor but this corridor i no longerin he restaurants inthe house ofthe hevane who fas already returned home. Ax for the empy spaces, without ‘haracters or movement dey ae interiors emp of their ‘caspun, deseo exter rlndacpes innate tm Ot they akon an autonomy whic they do nor imeditely poses. ‘eeninneo relia, which accords them an apparent ale which Sedative in relation toa sory) >rconpequertal once the action is done with. They reach the able a iaances of pure ‘onerplaion, ane inci bring abot he Ment ofthe ‘ental td the psa the rea and he magiay he sje Sin he ojo he word and he. They conespnd in aro wht Schrader cases of sae, NOW Burch plowahou, chester. The question ito know whether there nos the mime a dinion tobe made the cnt of ts category ease ‘tween ancmpty space orlandsape and sill propel 30 called there ae cerialy many smlaries, shared funeons and Spercepuble mons Battier the cone things ie ‘note confused wih a lncscape. An empey space owes 5 {importance above allo the abene of pombl content whist. {hel if defined bythe presence and componton of objects ‘hich ate wrapped up in thenschres or become thet own onaier asin the long sha ofthe vane almost at the endo ate Syn Such objets are nox necary surrounded 0d at tay iow characters to Wve andapeat ns cera so foc he {he life wih ve and rc The Woman of Tek, o the one te rit an goin What Dl te Lady Forge ‘César, te latscapes~ empty or with gaps donot have he Same principles of compositor arte fll Thercomess pinch onc hestatsitces theo, so completly cn thei Rocitionerispenchotrtnd sass seth emetona ta cam be made, for ratance, a Gat, the marvehonscomporsion ‘rh de be and the ighhowwe, athe beginning OFA Stary of Fating Were ‘The dxineon none the ls that of the empty an the ul which brings imo pay al he nuances ot relation in ond the movemen-image ” Chinese and Japanese thought 1s two axpects of contemplation IW emply spaces, interiors or exterior, comnte purely epic {iad snd) situations sl fear the reverse, the corel The we in Late Spring is interposed between the dae tol smile and dhe begining of her tears. There i Bering, ‘hinge, passage. But the form of what changes docs no iaeit ange, doesnot passon. This time times iets nts fre sates a divet meimage, which gives whit changes the thchanging form in which the change & produced. The night that changes ino day, othe reverse, recalls tl eon nhac igh falls ether ding or geting sronger (That Night Wife ‘Ping Fancy The sill ie time, for everything that changes 8 {ntie, but me does notte change iteould isl ehange only ‘namother ime, indeBtely. tthe point where the cnemsogra- phic image most direcly confronts the photo also becomes {nose radwally dtine from ie Oras stil hfe endare, Have 4 ‘loraon,over en seconds ofthe vase this uration of the ae precy the representation ofthat which endures, through the ocesion of changing tats. A bicycle may alo endure that ‘represent the unchanging form ofthat which moves, 0 on [St rest, mouonles, stood aginst dhe wall (A Story of Fatng Wer The Beye, the vase Sid the sill es ae the pare and ect images of time. Each js time, on each oxcaion, under “arious conditions ofthat which changes in ime, Times ul that themes form led by change Time he ial "eserveof evens thei appropriateness Antonion spoke of ‘he horizon of event ba noted that inthe West the wordhas 4 double meaning, mar's banal horizon and an inacesibl and tivays receding cosmological horizon. Hence the divson of Western nema into European humans and American scence Feat He snggewed that it not the same forthe Japanese, ‘wha ae haa intersted im science on oe tn the sue Fovao Hinks the cosmic tothe everyday, the durable © the “langing, one single ad ident time as the unchanging form ‘tc which changes I inthis way that nature or aaa wat Sesineds according to Schrader, st the form that links the ‘eryday in something wife and permanent. Thereisie need Stal call om a teanecemdence In everyday banal, the “Svon-image and even the movementimage tend to diappea in {tvaur of pure opi situations, but these reveal connectonsof« ewtyperwhich are nolonger sensory motor and which bring the ‘raneipsted secs into direct relation with time and thought18 nema 2 “This the very special extension ofthe opsign: wo make thought pereepble to mae tiem vise and of sound, 3 ‘A purely optical and sound station doesnot extend into action, any more than ts induced by an action, makes ws gasp Supposed Yo make us grasp, something intolerable an wna. fable Not brutality at nervcsaggresion, an exaggerated io. lence that can alvays be erated fom the semory-notor ‘elaionsin the clonmage:Rorisitamatter of scnesof eran ltsough there sre sometimes corpees and blood, Iisa mater of Someshing to powerful orto unjust but sometimes ako foo Beautiful and whch henceforth ousripe our sensory-motor pct Som beauty which soo rest fori om Sttong pain Tt can be's eitstuation, the eruption ofthe ‘olea, bat aio the mest banal 3 psn factory a wasteland ta ‘Geta’ La coabini he git milan recess few eration Ay slogans, 90 many clche tat she 0 bef of Beaty tric unbearable for her turers who have to coverup het face witha handkerchiet And this tandkerche.ited apn by breath and whisper Brothers brothers, brothers), tel be ‘comes unbearable for usthe viewers any even something ss become oo trong in the image Romancan al ready sont this or tel grasping theitclerabieor the unbearable the “pire of poverty and thereby Becoming wsonay. co proces means of koviedge and action out of pare vision Neverihles, ate there not equal amount of fantasy and reaming n what we aim tose thee are of chectve appre Scrngf hore dome ncnbavewejecive pay fori ttnbearable, an empathy whic permeates what we see? But this Incas hatte unable is nseparabe from a revelation ‘an ilumination, x from a third eye Flin has strong symp {his wit decadence oni in fara he prolongs extend ‘ange. the intolerable ad reveals beneath te movements {aes an gestures a sbterrancan or exraerrestil words the tracking shot becoming s meses of peeing sway, prot of the {realy of movement and te neta becoming, ho onger an undertaking of recognition [ecamatonr, but of hnowledge Tromazencr sence of vu impressions, forcing wo Torget Bigond the mrvomentinage 19 our oe loge and retinal abi Ons inl not the fturian of traditonal or reaconary values hes the reset ‘fie of daly Me He picks out the tnoerable ft the {nnpilcant et, provided that he can extend the fer of {Contemplation thats fll of sympathy or pty acror ly He The importan hing is alway tha he character or the Viewer, {the ro together become vionates ‘The purl opie aed ‘Stnd ska gives ston scing function; aronce any ard “port ei snd compassion, whi tensrymt ait “stim no matter how vole, ae veces prope nal incon which tlre or pap wit pradiclyayching fromthe moment i becomes evolved nose of steal in Japan and Europe, Marsa cris ave attached these ls and their charac for being on pine snd negative n tar tourgeob, neuroie or margins and. for having. replaced ‘olyng action wih x ofted vison ® And tintin Sinema, charscers of the triphllad are unconcerned, sen 8 ‘ha happens to them whether in the age of Romelin, che Torelgn woman wb discovers the land, the bourgeose woman who icovers the factory: or in the sgl of Godard the Perrot fou genertion But i precly the weaken of he ‘oto inkagesthe weak connections that ae capable o cle inghuge focer of disintegration, These ae the character with ‘ingt vsrance ts Ramee rangely webinforer trated ‘nd Wivene the wee an Japan hey are inthe pip of tmataton, they are shemaches inutants-On the subject Po Tee Things Godard sae that deere to Sere mutations Maton of Europe after the war. mutation of 28 Amerieanized Japan, mutation of france in Ht not the ‘Sema that tre ay from palit comes completely blah but ander ay ‘One ofthe two women srhers Wiens Pot du Nod ar alice harcieraics of ances he mutant she has at fit the capacy of detecting the Maes, ‘he members of the orguizaton for enaatng the wort before {Ging through melsmorphors tse a cocoon, thea Beng {Tate ino thir ranks Siary wih the ambaguty ofthe Peet tld Anew type of characer fora ew ema. 1 becaine hat ppene We dm dows not long to ter ad oly all “oncern trem, Bocaine thoy ow bow textrat rom ie crene ‘hepa that cot be reduced wo chat happen that pata ineslocatae pony tic conus uabenrals, the2 Ginema 2 inolerble, the visionary’ part. Anew type of actor wat need: ‘ot simpy the non profesional aor tat neo-realsmr ad Fesived a the beginning. but what might be called professions homactors, or, beter, sctorsmedims, capable of cing and ‘Showing rather than acing, sod either remaining. dumb Undertaking some neverending conversion, rather than of Feplying or following a daogue such s,m France, Bulle Oger (oF JeamPlere Lead)” ‘Nether everyday nor iit-situtions are marked by anything xe or extraordinary. It ant lean island of poor fishermen. 1s just factory, school. We mix wth al hat, fren death even acidents im our normale or on hliays. We Se, and we more or les experience, 1 powerful organization of poverty and oppression. And we are precisely not without ensory-mooricenrata for roeegizing sch things for puting {up wih and approving of them and for behaving oursees Subsequent. aking into aecouat our situation, our eapabies tnd ourustes We have schemata for tarning away when sto ‘Unpleatan, for prompting reigeaton when iis terre and for ‘silting when tstoobesutl Itshould be pointed out here that even metaphors are sensory-motor evasion, and furnish us ih something wo say when we Yo lnger know what doo they are specifi schemata ofan affective nature, Now this what 2 ‘che iA dice ies sensory-motor image ofthe thing. AS Bergin sys, we do not perce the thing othe image fn centety we amays perecte less of we pereie oly what we Steinterened in perceiving or rather what ts nour eters to perece, by virue of our econonicimerests iological bees find paychologial demands.'We therefore normaly perceive ‘nly lich. Bu, four sensorymonor schemata ja oF break, then a diferent typeof age cn appear: pure optca-sound Inge the nde tye ns sep gsondhtg ssl in xin of ror aay naa Unjust character, became to longer has tobe sified, Tortxter or for wore. The factory eestare getup and we an no longer say Wel, people have to work haga at Sein comar: the aco pron schol pron, eral. tio metaphorical You do na hive the image of a praoh foowing one of schoo: that would simpy be poimting cut 2 ‘resemblance. a confused telatie betwee wo Csr inages, On theconrary its neconay to dicver the separate elements and ‘elation that elude wa the hea ofan unclear Inge to show ound the movement image 2 ow ad in what see schon is 4 prison, housing estes ate ‘amples of prosicton, banker ler photograph ticks = ‘erly, withowe metaphor This i the methad of Godard Commenter: noxbeingeontent to engire i thingsare OK Orit Shinge are not OK: between to photen, tat ‘ew are hing? [tonmente vel foreach one and forthe wo together This man the ret iit entangle os ‘On the one hand, the image constandy sinks to the sate of cine: beanse i is introduced Into sensory-motor Bakage, ‘ede uc orgniaes or induces these kage because we ever perceive everything that sin the mage, beease ts mode {orth purpose (0 that we donot perce eveything 20 that thes teh hides the mage frm vs). Cesta ofthe mage? Inf tiacillzaonoftheciché wher athe powershavesn interest hiding images from us, not nce tn bing the San thing from s, but hiding something inthe image.On the ‘ther hand, tthe same ime, the image constanlyatempe 0 ‘reak through the che to get out ofthe ciche Ther 90 rowing how fara real image may lead the importance of ‘omit sonar or ser ACuange of conscenee or of fet tx eno aihough there aon of thi a the ont Ihear in Europe 31 ut ihere wre nothing more eveything ‘oul quip return tothe sate of che, other cher would Simply have Been added on} Sometimes its necesay wo retore {helo pars to rediscover eveything hat cannot be seen tn We Stage crerything that hasbeen removed to make kinteresing Bt sometimes, om she contrary, is neces t9 make holes, to inroduce vos and we spaces, o rarity. the image, by Suppressing many thingy that hive ben added to make ws ewe that we were sei everything. t necessary to make a cvsion ‘rake emptiness inorder tofind the whole agin. ‘Whatisdifeststo know in what respec an optical andsound image ot el» chee, best pho. We fre not inking Simply of te way in which ths images provide more ich 2 ‘com a they are fepeate by auxors house them as formula Buta not the case hat the creators themselves somes have ‘he den that the nes image has to stand up agains the dhe on sown ground, makes higher bid than the pontca adit and parody, av beter may of geting over te problem abe ie, Daniel Schmid? The creatots inven tess fring ‘pty or dxonnected spaces, even sil fs in acer sense2 nema 2 they stop movernent and recover the power of the fixed shot baci mot renucate the lic ha they ai to calenges Enough, for vitory,to parody she che, not o make les nk and empry i Te not enough to data the sensory mot onpecios tb netenary wnembine the opicasoun nage with the enormous forces that are not thane of 4 simply intelectual consougnes, nr of the scl one, But of 8 PrO- found, vial nttion,™ Pre optical and sound images, the fxed shot and the montage-eut do deine and imply «beyond of avement. But they do not sly stop nee n the characters even in the camera They mesh that mvement should nat be perceived ‘eta sensorymaor image, but gasped snd though ih another ‘ype of image. The movementamage har not dsppeared, but ‘now ents only asthe it cimersion ofan age that neve sop irowing in dimensions. We are nor talking about dinessons of $huce since the inage may be Ant, without dep, snd trong thisver fac anumesal he more dmensionsor powcr which fo beyond space. Three of these prowing powers can be bri summarized. Fire, while the maement nage and its sensory. tar sges were ins relaonship ony with av indrect nage time dependent on montage) the pure optical and sound img, its opsigs and wosigns are dite connected ta time nag ‘which has subordinsed movement. I this reversal whith teins that time ino longer the mess of movement ut {movements the perspective of time conotesa whole nema ‘of time, with sew conceptcm and new forms of mamtage (Welles Resnai, Inthe vecond plac, at he sme ime the ee takes up a clarvoyant fant, the sud as wel at vil ‘ements ofthe image enter nt internal cations which means thatthe whole image has ob Yea’ no ess han sce, readable ‘Sollee For the eye the ero the wap ais the'iterane ofthe perespble word which contaer Tike brook Here again al ference othe age of cescrpton tan sheet anne tobe independent docs nt dsappe bts mow ‘ubedinated ote interval elementeandrlations which tend Feplace the objet and to. ddete t where i docs appear, Continually dpa. Godar's formula, it bd is Some red stop being only patra and thes on seme specific {the cinema, The cinema gong become a analytic ofthe Image implyng anew concep of cucing, 3 whole pedagogy ‘hich will operate im differen way for instance, n Orv work ond the movement image Fy age pty ne ot seein eer ccuetninaeitipetea Siri mnargaae miners sis rier raceme es Eee /eacmmnieartnen fe aemerincoerreutee sina ms a ig eT ioe Sr pet i aie Sa psi ie at ce ath tg ere Sca e ae Ping teretanaieoon ye eee esate aetna Sapo ee Shc rime eects eek ean nsonenean muconanierinieasacreanaire fece earbtmieh eee Trae tena eerste ‘cetacean ane sala ema secretes Snemgeetnie react res of il. Alea in Soy of Lave Af the irene Speer ce ea daca Seater SS oe ieee Se are aa inema 2 the present. Ife ae sick with Eros, Antonioni, is bcae rots il sik and he ik not just because he ot and “worm outin his content but because he aught inthe pore form ‘of time which torn beawecn an steady determined pat ands Sead end future. For Antonioni, there sno other sikess tha ‘hechronic Chrenoritsicknes isl Thisi why chronosigns are inseparable from lecosiges, which force us t read 50 many {yrmptome inthe age that to treat the optal and snd Image ike something that i so readable: Not only the opal. and'thesound, but te present te pas and thehere and the ‘drewhere, constitute meral elements and relations which mrt be dedphered, and can be understood only ina progression halogens to that of reading’ from Slory of @ Loe Affe, Indeterminate spaces ae given scale only Tater on. in which Burch calles ‘continuity gasped through dscepancy(rcord sppritenon dai) cloner toa reading than to 4 perception" ‘Kea. lter, Antonioni the csloui ould be able to treat ‘arlaions of colours as symptoms, and monochrome as the ‘rons sgn which wine 2 word, thanks to's whole play of ‘eiberate mosicatons. But Sry ofa Le Afar already exits $eamera autonomy’ when tp following the movement of he ‘harsctes or directing tr own movement them, 0 Cary Ost ‘Constant reframinge as funcions of thought, nosis exprersing {he logical conjunctions of sequel, consesence, or even ite 2. Recapitulation of images and signs 1 Ihisnecessnyo carry outa recapitulation of the images and signs inthe cinema this point Ths snot merely pause between the thonementamage and another kind of mage. but a oprortusity to dea withthe mest pressing problem, that ofthe relations Teeween cinema and Language. th fac the possbity of 2 Semfology of the cinema seme to be depenient on these ‘eltions, Christian Meer fas taken 3 number of precautions on ‘hsp, Instead of asking 1a what vay ithecnemaalinguage (ther famous nner lunge of humanity)”, he poses the {question Under what conditions should cinema he considered ‘THongaage? And bis reply su double one snc pois iest oa Tacatnd then to an approximation. The historia fat that ‘nema eas consituted a6 such by becoming. marae, by preventing’ try, and by rejecting ts aber pole directions The approximation which follows that. fom that oan, the quences of images and even each image, single shots are ‘tclmilaed to propositions or ather oral werancettheshot wil te considered the smallest narrative uterance. Met hamall underlines the hypshetial character of ths asiaation, Butt ‘ould be sid that he akes more precautions only wallow himeelt “deckvereklesness He posed very rigorous question of ght (guid jor?) and he replies wth a fact and an evaluation, Scbauitting an utterance forthe image, he cm and mastapply 0 Langage ayatem [lange but condition the uteraes of 2 Tangge (ange), cen if this guage ix pot veal and ‘operates independent of a language sytem. The principle Sondng to which linguists i ony pa of eerily tt ‘eae inthe defniton of languages without language sytem (Semes), nbc includes the cinema as well as the languages of cstures, clothing or mac There therefore no reason to look Torteatavesin cincma that only belong oa language sytem, ke ‘louie anealation, On the eter bund, language fates Bich neces apply t uterances wl he four i the cinema, a6 Cinema 2 rules of use, inthe language sistem and ouside oft the symtagm (Conjunction of present relate units) nd the paradigm (gnc. in of present units with eamparable absent unis). The Semi- ‘logo cinema wil be the dcipine that spies Kinga ‘modes expecially sytagmatcones, toimages atone one ‘thei principal codes: Weare moving ina strange cre here, tbecanue sytagmaticssttumes that the mage ca in fac be smiled toan utterance, it tir alo what makes the image by ‘ight asimiable othe unerance. Iie typrlly Kantian vious Ge: synlagmaticapplis because the image nan iteranee but the mageissnterance bears tissubjetosyntagmatic, The ‘double of uterances and ‘gnd symaqiate” has been subat {uted for hat of imagens sign othe poe where the ery notion of sign tends to dsappear from this semiology. I ‘obviously disappear, clears wo the bene of the signer The ‘lm ppeareass text, wth ditnctio comparable to that made stialy appear ands genoa of structuring, constitutive oF Productive syntagms snd paradigm “The hist dificuly coneerasnatrauon: this not an evident lepparet given in cnematog-aphic images in general even ones ‘which are historically esablshed. There cam cerainy be no (guarel withthe paeages in wbich Mets analyses the historical {ht of the American model which was conse a cinema of narration And he recognize that this narration sel indie Drenupposes montage: the fc is tha there are san Hnguate eves that interfere with the narrative code or the syntagnaics (or only monages, but punctuation, audiovisual connections, mera movement.) Similarly, Chraian Mets hat no ins ‘mountable dificult in accounting forthe deliberate distr {nce of arration la mem cinema ics snough to pont 10 Shanes of srucrore th symm hea therefore chewhere:iisthat, for Metz narration refers one or Several codes as underlying lagi determinants rom which flows into the image in the shape of an evident given. On the Contrary, tsemsto us that narration sony a consequence ofthe ‘ble Oppare images themlves nd her direct combsnations ‘Ris never a given So-allec clasucl narration derives directly from the organic compontin of movementmages [montage oF from their specication at prrcepon-images,fecton-rages and aeton-images,acording tothe laws of sensory-motor Schema, Wershall se that temaders forms of narration derive Recitation of images and signs 7 fiom she compositions and. types of the time-image: even ft salty, Neato ie mover on evident lappere Gen of ‘igen o the effect of a structure which undetes dhe Wi Chmequence of the vile appari) images themselves, of the ep iuges i thems, ae they at nly dened or Freee “Tncrootf the dificult isthe assimilation ofthe cnematogrs pic image to an iterance. From that point on, thi arate Ierance necesariy opersiesUhrough resemblance or algy nina muchas proceeds through sign thee are slog “Ign Semiology thar needs to haves double transformation: on ‘one hand the reduction of the image wo an analogkal sign {longing to an sterance; onthe other hand, the codiiation of these sighs in order to discover the (non-analogal Inguistic “trocar underying hese uterances. Everything ml tate place {etecen the uterance by analogy, andthe "igi o digtazed ructureof the uterance ‘Buta the ery pit that the images eplaced by an uerance, tne image given a false appearance, and ke mom authentically ‘isblecharactersuc, movement, taken away from i For the ‘ovement image snot amalogsalin the sense of resemblance: ‘Sos not resemble an objet that would represent Tiss what Bergion showed from the st chapter of Mater and Mery it ‘movement taken from the moving body, there imo lorger ny Ssincion between image and abject, because the disintion is ‘old only through immaiaation othe objec. The movement image i the object the thing Rsclt caught in movement ‘Continuous function. The movementimage's the modubtion of the abject ie We encounter ‘analogial again here. int ‘Sense which now has nosing to do with resemblance, ad which indicates modulation, sin s-aledanalgeal machines Temay ‘ajeced that modaton in turn refs on the one hand © "semblance evenifonl to evaluate degreesin a continsim, and ‘nthe other hand to code webih ble oil’ analogy But here again, this truc only movement aimmobiined. The simi and the digital. resemblance and code, atleast have in ‘mom the fact that they are meu one by perce form, the other by ineligible sracture: hat why Shey ean 0 eal hve Tks with each other But malolatin completely cilferen; i a putting into variation of the mould 1 rans Tovmaton of the mould at each moment ofthe operation. I it "eters to one or several codes, i's by gras, code gas that8 Cinema 2 ‘mulpl its power (as in the electronic image). By themes, resemblance tnd ifatons are poot methods, nota great dea am be done with codes, ven when hey are tulips Semiology endeavours odo 1's moxlaton chat rourthes he {wo moulds and mates them ine subordinate means even f thi Involves draming'a new power Irom them, For modulation ithe ‘operation ofthe Rea nso fat consis and never stops ‘econsituting the ent of mee and object inthis respect, Paslin's high complex thesis iin danger of bing misunderstood. Unite bea vepronched him Rr hit ‘Semblogeal nave Thisincene Paso: te oF the tick to appeartoo naive to those who ae nave but ove-dever Paoli sems to want ogo stil ute than the semilog: he vant cinema to be a language system, to be provided with 4 ‘louie ariculaton the sot equivalent othe moneme, but ala ‘the objects appearing nthe frame ‘cnemer. quale ta Plonemes) t's as fhe want to return to the theme. of a {tnivrnal language stem Eacee hat hess the language system. of realty “Descriptive science of realty’ this the ‘misundertood nature of moc, beyond exsing tnguages, ‘bal or oerwie, Does he notre hat the movement nage (he shoo cons of fret riclation in elation toa shang oe becoming which the movement expreses, but suo seond areulation in relation to the objects between which eta ished, which have become at these Ge itera parts of he image (cnemes) Te would, thereore, be prides fo obec Paslin thatthe objet soniya referent, and the images portion ‘ofthe sited: the objec of reaty have become tnt of the image atthe tame ime asthe movement mage has become 8 realy which Speaks through fs objects” The cinema, fn thi Sense, has constantly achive language of bts in very Sevtak mays tn Masa the objec i bcbavouad incont i eins mental facto: Oru formal fancion or sil ie in Dovahento fis, then in. Parsdpnov, mateal function, ‘Pnderous mater roused bythe pri Saye Nowa defintely the ‘masterpiece of material language of objec), Infact thilanguage ystem of ely not atl alanguage. I Isthesjstemafthe movement sme, which, ts we a ia Value Invasdefined on vertical and hoon anes whichbave nein todd with paradigm an sytagr tut consote two proces nthe one hand the morcmehiimage express whole which ‘anges and becomes established Between bjecs this te ecaptlation of images and signs Ey proces of difrtiatin. The movementioage (he shod) thus ito adden depending on the whole tat kexrencs and {zpending onthe objects beeen which ie pase The whole ‘{SRramiy divides depending’ on the objects and constny ‘Siobines the objecs® into © whole nth Coerything Bau) “anges fom one to the other” On the other hand the aver image inches itrvab: i refered to an ner ‘Thanet of image spear, with sign through wbich hey are tmae up. ech i Nel and al of them together (hus the fperepton imagel:atone end of theinteral, te acnimage at {ice endandhe feon-mage tener ie i's proces of poston. These components of the movement ing. from the dal pin of ew of specication ad differen ‘stn, conte signal mati whsh nudes al ings of {rslaton features, sensory ebual sh sound) net, en {Te affectve ryt tonal andevenvertaloraand writen) ‘ucatein compared them ft to ideograms, then, more ro. foundly to he internal monologue a protlanguage orp tne angge ym, Been with eri ent cer language system nor alanguage. ti pastic mas Siguiping Sd sey rE tera not fred inguntcally ven though ts ot amorphous and formed semitically,seahedally and pragmataly" Iti a condiion, {terior by right to what conditons. Ie nt an enunciation, andthese remot utterances. Itsan tera We mean that hen itngouge gets old ofthis tera and necessary does 0), then its rnc to uterances whic come to dominate or een ‘place the images un signs, and wich refer turm to petnent Features of he language system, sags and paraigne, nde tage of in replaced {y's nontocazable relation, pure spl tnd sued tin 2 drain nage Opsigns and sonsigns are dives prewentons fie. Fae coninuity shots are the noncalable reltion nel characters nolanger jump acros them, they are sellowed Upin them. Where has Gertrud gone? Into the false contin Shots OF course they have always en there, nthe eh, lke aberrant'movements- But what makes them take en a ‘pecially new tale, 10 the. point where. Gerad wa not Uersond atthe me and sill offend perception? We ca ‘Choose beeen emphasizing the continu of Gnemasta bole, ‘or emphasizing the diference between the catia nd the mmalerh. Ic wok the modern cinema to reread the whole of ‘Snema a already made up of aberrant movements and false ‘nina shots The dtet time image the phantom which has says haunted the cinema, ba it took modern cinema to gre 2 “ody to his phantom. This image ital in opposition fhe culty of the movementmage. Buti iu oppose to ‘ul ttt opposed to el far (omit Again thse mage nib sid to presuppose montage, just» much as indvec presentation did. But montage has changed ie meaning, i takes 'om anew function: iaead of being concerned with ‘ronementimages fom which extract an indirect image of ‘ime tiseqncered withthe tme-mge and extract from the ‘eltions ome on which aberrant movement mus now depend To sopt a word of Lapoujde’, montage has become won «ulthsscmstobe broken the crn which we were led rom ot to montage ad fron montage to shot one contiting thea Cinema rmovementimage the ether the indirect image of time Des Pts effors (and especialy those of Eisenstein), the cocepion ad diy i geting Fad ofthe es of a Cuntocion going igh tothe edge in both directo, ‘montage worked on axvementimsages It aften been poi fut in modern einem, thatthe montage was already in Image, or thatthe components of an image already ing ‘montage. There sno niger an akernative between montage ‘het Gn Welles, Reanaix o Godard), Sometimes montage Inthe depthvof the image, sometimes becomes Nat ino Ss how imagen ave ke but "What does the image so ‘Thisidemiy of montape wth the image self can appent only Conditions ofthe dre Gmesimage. to tex wi plications Tarkovaky say that what several the ay flowin theshot, tenon or rarefaction he pressure of Ue! these He appears tesubaribe tothe cama ternative, “rmontage- snd woptsrongl forthe shot (ue inematograp Figure ony exit ini the aon) But his only 2 5 arance, because the force or presse of time goes ou {hetimis of tear snd monage tel works and ves ‘What Tarkovsky denies that cinema ikea lnguage wor with units even if thee ate relative and of diferent Imomtage i not sunt fa higher order Which exereses rer unieshots and sich would thereby endow move {mages time ane qual The movement image a perfect, but ft remains amorphous, nliferen and Static fot already deeply affeced by injections of time which ‘montage int i ad aker movement. "The tine ina shot flow independently and, 2 to speak, ais own boss sol {his condion thatthe shot goes beyond the movement tnd montage goes beyond indirect representation af ume, ta Share’ sae me mage, the one determing the orm Teducibe to aucesior, than the image i o roovemen). Kovky cll hi text"Os the cinematographic figure, becuse ‘als fgure that which expresses the "ype, bat expresses tin fre angulrty something unique. Thins the sign tithe Fenn te sige But, alongs sign find thir materia rmovemen-image at lang they form the singel ‘roking another generality which would lead to et ecopitulation of images and signs 43 confused witha language. The representation of tine an be ‘Sita from this only by astoaton and generation, oF as ‘Sheep Gene Eicnaein's Bringing together of montage and ‘Shep. Such i the ambiguty ofthe seaoryasowr schema. Sgentofaburacion Its ony when the sgh opens deci on ifs seen time provides the sghaltc material sf, a the Tapes wie has become tmporl coeds withthe feature of (Uefa separsted rom er motor seitons ts here that Trurkovhy* wish comes true! thatthe nematographer succeeds ining ee ins nde int siges)percepubl bythe senses sense, cinema bad always done this: bun another ‘ei itould ony realize thatithad inthe course of evolution, thanks to era of the movemencimage- To we a formula of Nictathe’stisneverat the beginningthst something ew, ae vi srableo revel is esence what twas from the ous an ‘realonly after detour ints evolution,3 From Recollection to Dreams: third commentary on Bergson 1 Bergin distinguishes two Lnds of ‘ecognition’. Automatic Iahinal caption (the cow recognizes grass, 1 recognize fend Pett) works by extension: perception extends cl i the usual movements: the movements extend perception waa tray on te wef effects Tens sensory-motor recogtion mes about above all through movement: motor mecha thi he sight ofthe ejects enough to trigger are consi {nd accumlted. In a cenain sense we constanly distal ‘Suseves from the frat objet we pat from one objet tne aecording tos movement thats horzontal or of ssa ‘tnnges, but remaining om ead te some plane co from one amp of grant another and wth my fiend Petey move from one wbget of conversation to another). The Io of recogeition, str rogaiton, very eiferent. Het handon the extending of ty perception, I cannot extend ‘movements which are more rie und of another hind —re to the sbjea, return tothe object 0 at to emphasize ce Contours and tke's fer characte etutes rom it And tejin all over agai when we want to enti diferent fea sl contours, bt ea time we have to sat from seratch In ‘Ge intead of a aditon cf distin objec on the sae pl Ste ce the object remaining saan, bt passing tough lf ‘plones' Inthe frst cae, we ad we perceived, 4 xeon: {image trom the thing in the other case, we comstte ap ‘pte (and sound) age ofthe thing. we make a description How ar the two kinds of mages dsnguished I would set ‘iat al ha the veraor-mtor image ricer because i thing self at less te thing i exes ito the movements Iuhich we make se of Waist the pure optical tage se evenly poorer and mor rarefied Robbe Crile sys, i tot the tng but scription’ which ends to repace the things hich erases’ the concrete objec, which selects ony ce eautes of i even if this meant making way for diferent ‘serine whic wil pick outliferent ins or Fates, which rom reelection to dreams 6 are sways provisional. shea in question, diaplaced or replaced stay be object that # cncmographic image ~ fen ¢ X gory motor one isnecraariyadecpton. Burt ths pnt sera conan two Kinds of decrpaons one song (a ‘en'ne sy shat chars made fs on or grat Been), hit The cher i physealgecmctsa orp. We have ‘feay tein Rost cee ohhh actor en NC indrgetee worn, in Ewope 51, was val and sound sre bar conriey den, Scud wo fe fares Med‘ kr combine Golaed mater each shot a dexcption ‘Mit teplce the objecand which wilmake way foradiflerent serpin, so tat, stad of organically desrBing an ae, se shown pure dexrpone wich ae urmade the sme Tincusthey ae ouined "the new cinema ethene novels ‘onatderateploophical and loge! importance. kis rat of Si‘Secuse of he they of descpione winch pin = of ‘hich Robbe-Grilet waste poner “hth pin everything reversed. The sensory-motor image etc) retain fom he hing only what interes =m fatends ino the reaction ofscharacter. ts richnes i hus ‘Spor comes fromthe fact that scat wh the {Slimane ngs esc onthe tame pes to fara they provoke athe same movement gus in eral that Ire the herbivore. Kee theme at the {Siiry.motor schema an agent of aburacion Commer the pure apical image may be only a dexipuon, nd eoncera Sfaratcr ono longe knows orienolonger blero the stuton: te estat of ths image the tinnes of what ‘sna ine a simple pant, Might fragment wathost impor. tence binge teh nem cal ingly and serie th inex rey referring to oer dese ‘oe Iie the opt age whch ierealy ich, or ye ‘At eat t would be we kev what ae was 1 fereption:image ton aco ‘ino the second and extended the one ito the oder. Bu the Pe opal mage fs completely diferent mate. na nly because i ie different type of image, different type of Deveption, but alo because te mode of kage fot the sane: ert sa simple, provisional answer and ies the one Bergon es nial the otal and sound) image inattentive reg Moe not extend io movement, but enters imo Feation“ Cinna 2 etton mage ta cap esapy we sod dengacee proDcanreen montero raoed, ean TREES tt Sous eern ron wuld beh rel sn ‘gma te pal an he metal the Sve and SINE dlls nao ad on ra ea ny a ate ee Siero nate yer aes exh he feta ste echt tng ny ch Eitan ted ene o bene at by apa Sic plbnctindseey noe eae des tous cements ot Fra saeco che Shing eet lantora ea tat he lng pons ag sede nado dans ccna vache ‘Shew or snpete Aient ra esl tnge epee itr despise se were rei The keane of Eee 91 scr era eure of ‘Sit and isthe secog cones haga ecm 7 aud te ed te dcr pet ae ‘coleobn the cyto at remind her spo TEeiSC Si up metal eon anew aces eithantllother fennel aren Se vec cnt tel of the em, Tg I ‘Sedan rte ansng vara ees Toren oe ny te te ete aor pasa get bene nin harass hse tn te ne Webern ice oe ch cat ctor and SPS prec ind dsb mee tain htcee panes tnd dependent Siestng tact ater coy cobeaicng exh Ser ng Sidacindhc epic ltd et one and retinal sl ty Saf enn eed ie prion of nl reas eng sew Say aceied petted cutive lenges Rua ob Can ap he esc rans BTC. Derepren sighs epuninn of menor ‘tition tas 28 Capraro ‘fs eosin and Soon pe hough dcp dayne appre he ing. the so Sef ese tint wae free er cn rn depo ple rom recollection to dreams ” uv the spittis shattered by a tension which 100 strong, From ‘dope ofthe unleashed volcano, th village scen fa blow, the tng above the Wack wens mle dhe spt whispers: am ‘Rithedt am aah, what mystery, what beauty, my Goe cre ae no longer senuoty-motor mages wih thir extensions, ‘much more complex rola aks between pure optical snd imager on the one hand. and on the ater hand images ‘Ram time nnd thoughts cm planes which all coexist by ‘sting the soul and body of the la 2 rhe purely optical and sound situation (scription) fan ata inne but one which insted of extending ito movement inks tpvetavirual image and forms ith The probim te 'inow more precely what capable of playing the rele of Sit image What Berguon calls recollection sage seems at Frtaight tc have the reuse quatiesOf course, recaledione Irges alveady intervene in sutomatie reogniio; they hsert themselves between sumulation and response, nd cout > the heseradjoment othe motor mechanisn by reinforcing it ‘tik poyologial causa. Bet, inthis sense, they ony Inereeneacedemtally andi secondary way in automatic Tecogton, whi they ae enero atentive recognition: his ite comes about theugh them. In ether word, wh Fee serum a cya, he ‘seen that suet already emerged inthe movernen image t “Spyers av soon mv there Wa gap between rceveda an ‘ated movement an action ada eaction,astimulation anda Fejunse, 4 percepionamage and an acion image. And sco Wael an dimension of thf sug. 18 inecse belongetothe gp, tconsites is sides Winans tmeupies ie but without ling or fuliing Now, on the ‘Snteay, the rcallection image comes to lhe gap and lly ‘dey fl i i sucha ay tht leads us back individual > Ferecption, instead of extending this ino generie movement. 1. he full eof the gap, sues te Deeuse lage self there butt ofa dflerene nature Subjeetiy then takes on 3 hes tenses which io longer motor of mater, bu temporal ‘he spi: tha ch added vo mate, not what sensi "eclleetion:image, aot movement image”48 Cinema a ‘The relation ofthe actual image o recollection images am be sceninthe fashback This prey alse cat which go From the present ote pas ie ends ack woahe presen Of Faher, as in Carnes Dye a mihi of ects ech ‘which goes through ane of renleonsand return even ‘espe eer mare Insole sate 0 he preven aon hol room tesiged by the pie, cach ‘atcome the wipes smashed the built holes the wally thesucecaion of ciarcncr But we brow very well that thal fshback 4 convemional, extrinde device! generally Indice by dwsve link, the mages tha itiuroduce, ‘often superimposed or meshec Iti ike sgn withthe word ‘watch out recollection. Ica, therefore indicate, by om thn, x crusty which pyeologicl. but sll analogous toe Semory.moor termini an, despite cies, ly frm the progression ofa Hiner narration. The quenion of fashbck this has toe sted from ebewhere, jos a Feclletionmages mast be gen the internal mark ofthe from chewhere The circumstances must be such that he ‘Cannot be told in the preset It therefore necesary fae Something ce to usar mse the ashack and to mark oF “Rihentihcthe clleson hege Carns espone eres ‘lea: Kis denny which gocs jon dtermintom sod coon ic ening tha sketches ou asupeneariy: is destiny both nies fsshback ane proves recolledion-smages wi Iman ofthe past. Ths. n Dare the sound of the sinesive ‘efrain come rm the dpibactime ous the Mahback and the anger carries the tragic hero away to the depth of inet ‘eiver im othe past Buti eal and thereon tage th find thee fount esti oy relate ‘or condisonal way For destiny can becxied drei note Stays and can firm 4 pe power of time which ovefows all Incmoryanalendy- put which exceeds al recalleciont we ae oc thinking of expresionst hguresaf blind men o ramps Sr ehich Carns work tenn, but ofthe inmebieings and Jerrikaonsin Vester de Sorte une of rein es ofan Ped ore ee ch Co st French sje ~ Tumnus gry which pases through every ‘tiospheri nuance and cones arek creuofthesun and ankienc is undoubtedly the greats flashbick author. But ‘rom recollection te dreams 9 ese he mas oft iso special that tmay be contrasted with ect Carne, os the two cxeme ple ofthe recollection nage (heresnotanger any question of explanation, acausiiy or Tia which ought ta go beyond dhemecles in destiny. On the esa isa mate ofan inexpheable secre afragmenation of ‘iltneariy, perpetual forks ke so many breaks in causa. ioe im Maniuewia Is exact a8 Borger dexcibes iin The Uiticn uf Forking Patho" itt not spe bt time which forks, Scoot time which approaches, forks seu off oF unachnow- ‘Cige or centres embracing every poste here that ‘Relishes justin, aca point where tie orks. The malpicy of cet thus fins a ew meaning. Tes no. imply several people cach having aahback isthe asiack fetunging to sever] people (hee in The Barut Cone, three [a ater Tree Wit, wo tn AUlAboa Be) Ad itt xt the {ius forking between themselves, f each cle forking ‘ini ik pleat hehe cits A ate toTrer Ini each ofthe nomen wondersin er own ay when and how er marriage ban toga ttake forking route, Anceven then there ra ungle fork, Eke the tse for mud na proud and Iplendid creature The Barf’ Contra), is nepetitions ave 0 emulsions ie manifeations refuse to be aligned, oF 10 Tecomsitue destiny, but constanly split up. any site of ‘Ghulam and ear tie impose a new meander 2 nem break iCal, which self forks From the presious one, in a ‘alecton of non-linear relation” One of Mankiewir's most ‘ial orks ia Whim ity, where dhe doctor, who has ‘Cone to tell father that hie daughters pregnant nds mst ine mille of talhing to the daughter sbout Tove and ak 0 ‘many ber, ina dream landscape. Two characters ure cena ‘ems na unners of automat: but theresa word whe'eone {has work where the other takes onthe dress of inspector and incomes master in urn, lhe uelesshed automat shui all ‘he posses all works andl mes (Th lao), Manic ‘vcr characters never develop incr evolution: the wages ested through by Eve thing the place ofthe actress sealing Net ner seducing the grinds husband, backnalig the Beltond; dn nt tke rt in. progrsson but each time ‘She's devon which males treat allowing a seret to ‘x in the whole which the new Eve atthe endo the ky wil ‘her poantof departure for other forks.50 Cinema In ec, there is neter straight line nor circle whic completes el All Abou ef not exactly ‘all about ei father's bit asa characterin he says: She willbe able totl Youra bit about this sujet" And, im Sudo Lat Suma ere sony one Mashback, ven the gil again emenmters ath ‘end the horrible eelletion which eating aways er, ca the other Mashbacls have been Hacked, replaced by stones and Hypotheses, without, however, canceling the corresponds forks which allow an inexpitabie secret to ent fr ever Inf the son's homosexuality explains nothing. The ners je is'a frst fork, as soon at she i supplanted by the Bi homoscaaay iva second when the som uses he gi athe is mother, st bate for vs bu there all ane more, nother circuit which taker up the deer pton of te cari Mowers and the sry of the horrendous fate ofthe ie which are devoured, when the flashback reveals, beneath Son's homosexual, an orgastie mystery, cami tse ‘which he ends pcm, hahe and dared by sy Aeretched lovers othe soul of barbaric musi of the “And ere again t the end, acems that everything sate ‘sina the mother wil dcvour the young dovtor that she tstaen for her sont Matiewir, the Basho aay is vaion de im thee ange accounts which sate cau and, instead of dispersing the enigma, rele it bck to other ‘Sleeper ones. Chabrol wll edscover tht pomer and use of tl Mashack in Viole Noa, when he wants to indicate heroine contin forks the varity of her fees, erred sliversty ofthe hyphens she a di he mot want to, hhermother, 2 Time's forks thus provice Mashback with neces, a sscoleion images with am-asthentty a weg ot wi {nswer i simple’ the forking pints are very often so mperee ‘hl hat hey cannot be revesel unl ater thelr ocatrence anatentive memory. Iisa sory that can be el only nthe pa This was alread the constant question for ieageal to whom Mankiewicrs very cone whit happened? How have we arrived a this point?" This what goterns the three fahbacks af Veomen i A Leer Tne Wie and Harry’ recollections TE [enfor Condea. Iti perhaps the question ofall questions The theatrical character Maniewicr's work has often beet pointed out, but there sho 2 "novelsic element or tome From recollection te dreams 31 precy a short tory’ element, fort isthe short story at ass: Chat happened). What hae noe been suficenty salyed, Thowevers the elton between the two, their orignal on tthch means that Manklewics recreated 3 complete cnemato- {Trunicspecicy. On one hand the novelitic element the so" Spears nthe memory. The memory in fact following formu Yanets atry behaviour. Initsveryenence, memory sce, ‘ich speak, talks to Ralf, or whipers, an recounts what append. Hence the voieoif which atcompanis the feshback, Tn'snkiewir this pital role of memory often gives {feature more oles connected withthe beyond the phantom in HMraMuirs Adventure the ghost in Whiersin hci. the aomata In Bladoand. I A Laer to Thre Wes, there the fourth friend the one that wil never be scen that i once barely {limped snl who has made it known othe der othersthat she ‘gung off wih one oftheir husbands (bu whi one) 1 her eke wtich looms over the other dhree asbacks Th any ‘rent, the vice ar memory fames the Nashbac, But inanothet ‘Soe what the later show and what the former repre, Irore vont: characters and decors which are of course ean 0 Ihcscen, but are enchee speaking and of sound. Ths the theatrical element the diologue between the charicters who Spear, and sometimes even the uppesrance of the character ital, prsiucess story (Af Anat #2) mone of the fashbacks int Leapre Thee Wives there is the dinner acene where the \eacher husband and the wien advertising enertai he ters female bout al the movements of characters nd camera ae ‘termined bythe mounting velence of thelr dialogue, and the {stbution of two opponed sound-soures, that ofthe Fado rae and hat eclectic he teacet alleges st The eset point then i the otimary of the Iasouryand the theatrical element of the logue words nd sounais conducs of the characters. ‘Now this interrelation ts etermined in very oriial way in Manksewcs What reported ialwaysa skidding detour, fork But athough the fork may in principle be discovered only ster the event, trough lahback there none character who has been able to foresce oF grasp it at theme, whether be west ‘ter fr good orforevik Mankiewiers bella wit ese scene. "Wis sor nly Hurry ole in The Baron Conte it haspens ‘0 important scenes tn All Abad Eve. Fit, the acess82 Cinema a secretary-drenter has understood straight away Eve's deci ‘Sines: he spit personality: athe exact moment that Eve wg pradacing het fae story. she heard everything from the next From, out of frame, and comes im the ram to ge Eve al iene lack and briefly show her dou And then, later the ddevish dheatrecrtc wil surprise anoher of Eve's forks, whe fhe strive to sede the acta lover. He hears and perhapa ‘notices, through the balf-open door, at between two feds. He milky how to use dis ater, but he has understood at the ime Gand it sat different momen that cach of the characters tnderstands, thanks sos new frk). Now, inal hese aes, wed fot leave memory. But instead Of 2 constituted memory. a Function ofthe pt which report try, we witness he bith of memory at uncon ofthe fare which retains what happen ‘rer to make tthe object come ofthe eter memory. Ths ‘that Mankiewicr has ery cletely understood: memory fever evoke and report the aust iF it had not already ‘ede ent an ea tc bee ‘Binthe present that wemahea memory, inorder tomake mcof inthe future when the present willbe pst" Testis memory the resent which makes the tw elements communicate from Inside, oveltiememoryasitappeasin he reporungstory. the thesricl present as appears inthe reported dialogues I ‘hisciculting third which ges the mhole orally Gnemato phic value. ths ole oF py or of rvalunary wines, [ves Manisewicr' cinema itr whole fore: vival and ui ‘rth of memory. Hence the way in which we ind in im the tines sopecs of the out Geld: an aside concerning ‘haracter who surprises the fork, anda beyond coneering ‘arate wo relates toe pst Gometaesthe same characte ‘Stoetines a aifferene one) Buri str that flaniback and the recollection image thas find a reson frei existence in these ork of time, hiatal atfewe have seen in the very ifferent cave of Carne may a “irc, without going through flashback, outside any memory ‘This tue im particular of the to great theatrical, Shake spcareun fine, Julius Casar snd Clete Ut tv that te iRncnal character of thee Sms steady takes the place Of ‘memory (and in Clopate, the echnigue of frescoes whith come Tol) Tiss he case that in hem, time's forks take on adie meaning which confounds Mahback, The interpretation of From recollection to dreams 33 ooops nitrite ismepnaae eae [res no character who develops in a linear way. Yet there is eh tig cen ew et ieee aah bigen ee lamtosesnent rae a tos a a erected ong scr a aisecgar ae rts See eaetat a Chesabsac tea pet sca serena nag Shee ee Sipiatetnttl pcan *Necome the sam concn pi: er he asc ‘Momrektwherer rns destiny, Maricwir's forking time But ‘ne eaahteetoraatetr tas Eaeinets masriermmeanre perce er gpg4 Cinema 2 represents and embodies and which diinguisesit fom other {apes of images f the image becomes reollection-mage ii ‘nly ins fat ait has ben ook fora ‘pure recllectio in the place where twas, pure italy contained i the hidden ney {fhe pst atin oneal Pure ecllecone, summoned fram the depihs of Memory dewop ino recolecion image’ Tae ‘ing not realeting. No doubt recllecion, se becomes {cual tends olive in an image, butte converses nt wre, and the image pute and simple wl not be referred one past ues, Iced teas in the past hat 1 sought thus folowing the ‘continous progress which trough trom darkness int ight Contrary to our frst hypothesis it not then the recletions Image which is suffiient to define the new simension af | Sbjct. We asked: when present accu hage has ot ‘motor extension, with whet ral Sage dors enter in Felton, the wo images forming a cirult where they run ater ich thcr and each elletd in the other? Now the recollee ‘om image not virtual actuaics virtay (which Bergson fls ‘pure reclletion) on Hs own account. Tiss why the recallecionsmage doen not deliver the past 10 0x, but ony Fepresens the former present thatthe past was The recall: ‘orig an image whic s actualized ori procs of being ‘made sal which does no torm withthe act present imaged ‘Great of ndiscernbit.Isthis because the cuts oo brody torent contrary notbroadenough? In eny case, ones eqn tl Ieraine of Erypy 51 docs ror evoke s recollection-image, And {yen when an author proces by flashback, he subordinates the [Rishback to another proces which give foundation, and the ‘ecolleeson.mage to deeper time-images (not ony Mankiewiy Ibu Wels, Ress et). There it no doubt that attentive recognition, when it succeed somes shout Ovongh recolleton nage its eu tet a ‘feck at such and such a pce». Butt precety this seca thi allows the sensorymotor fu to ake up is temporal Tnerrupied course again. 30 that Bergson corsunly cre round the following concsion, which wil so aunt nema 'ttente recognition informs ws toamuchgrester degree when falsthan when i aucreeda, When we cannot remember season ‘motor extension remains sampended, and the acta image, the [resent optical perception. doesnot ink up with ei rage or reelection ge which woul ect conac ‘auher enters int elation with genuinely virtual lements rom recollection t dreams 35 fetings of dj wor pat in general (ust have sen that man ‘crpethre” casas (have he fel hin Iindream: fanaa or este cons (eset playa ole that um familar wth) short, nox the realletion iige or attentive recognition which ges us the proper equi ‘Seno the opest-sourd image, rather the dstrbances of ‘Memory andthe faitares of esopiin. 3 This is why European cinema aan cary stage confronted a troup of phenonicea ames, ype hallucination, mad fete the ying espera ight eam slances with futusi, consrocivn and” formal: of ‘rman expresont ad various lances with psjhiatry Stet poychanalyr and of the French school and fs various, sluts with purean European cinema mw in thisx means of iealing wth the American mans ofthe atom nage, and “oot eachings mystery of time ofunking age, ough and ir i sweat ogc emt the ‘Shmoh factor inal then ats tae character es mse fey tonal and sound sensations (or act ones, cancous OF ‘ehaestet) which have lot ther metr extension. This ay be «imation, the imminent arial consequence of a8 Stina nearness of death bt so the ost ondary sats ‘sleep dream, ors disturbance of attention. And inthe second ‘lc, ew aca enation and perceptions are sca olf rom Tncmor based recogni ar they are om mor teogon: nospecine group of recollections comes to correspond w ther, “nde fig the optical and son situation. But whats very ‘terns temporaria anual oo Maung neers mages os pt geneal hich ove pst at ‘haying spend sit rte were chiens profound feedom. It sw irtettand anarchic mobiing of te pst now tesponds 0 the’ churasers moor powetlennes, Desoves and” super impose arrive wah vengeance. 1c iin th way that xpresionim erated to restore the ‘panoranie vison of thine we fee more threatened or To images thrown UP36 Cinema from the unconcous of a woman being operate on ~ Alfred ‘bets Novem, rom that of am asauled ran ~ Metne? Ate, from ta of an in the idl of drowning = Feo The a Momeat (Dajah moves ‘wari thi ini the hero get nearer wo a inescapable death) The same maybe sid ream ste or sate of exten setaory.motor eaxation: the purely optical or sound peropecces of divested present whi fo longer enjoys inks was diconnected pas, Hoting chide Tod memorie, fantacy, orimfeesionsof ww, This agai the mont immediate or able entent of ele’ 7 rom the heros overwork and clap rm tet to the final panora Aion, akingin he nightmare te nderground passage andl The tema wie stud a hems opening, Thee Berguontan theory of dress shows that the dreamer nota all Goud to te sensations ofthe exter ad ine ‘orl Howener, he no longer rts them to specie reclleg Tonsmages butt maleate sects of put wich ha tit rery broad or foating adjustment. Hf we. go back Bengor's previo schema, he em press Be eget oon rt erm ere of al be ceer™ Ths the emir motor lnk ofthe lon image in habla re ‘on, but nor the various crc of pererpion reco ‘hich come to supplement in atlenthe recogni: two Ththerbe the weak td dost connection between a opt {Gr sound) tcnntion and = pmorunie vison between ‘etmory image whatever and oul dreanvimage “Whatmore precy the diference between reales image and a dreamintage? We sar fom percepion {hetutre of whch ito Be acta. The resltton contra wha Bergon call ‘pure recolcton' is nee 2 Tina. But, inthe Rt ese, it beomes act in 0 a 2 ‘immoned by he pereepto:-imoge lis acualned arco {omimage wk corresponds othe perception image. The cle hand, the sleeper’ perceptions exist but inthe dius condition ‘lads factual enstions cetera sd nteral~ hich fe fot grasped in themacles, exaping consousness On the olier andy he viral image mich seeomes actual does tot do Airey, bat becomes cal in 2 different image, wiih ial plays the rol of viral image being actualized ns thir, and ‘nto infin the dream i nat 4 metaphor but sri of Sumorphoses which sketch outa very lange cea. These tm rom reclecin dreams a7 rari are linked When the alee given over the SIiat luminous semaion of green surface broken by White ‘Rtches the dreamer mio lenin the tleper may evoke the [Rnge ot meadow ded with flower, bu his age only wlized by already becoming the inage of ard table Tenn wh ball which etn dc not become atl ita becoming vomcthing che: These ste not mephor but Thecemingwhacanbyrghicontinsetomninay. TnRené airs {vce the dancers atsoee from Benet spreads out ea flowerind the flower opens ind closes cori, large fund lengthen ame orn bck imo the opening IGuokadances the cy ighrbcome spi of ihe ius tee hat of man paying ches, cgareten which i uh Iteome the cos o' Grech tmpl then of ao, whi the {esibardfeeomestramparen toes view of the Pace de a CGncarde'In Banoele Us sh sda the mage othe {Ming wd which Bsc the mom x actuaied, bat by fring into that of the razor which see the eye hit ‘mining the vle of irualimage n relation tothenentene. A {Ghats becomes searchin hick ranaformed no 2 “ear head of hat, t give may to acre of onloker. “ercan enems grad htt ofthe dream-mage a east {inthe ond of Ber Keto braqu, due to Scrual afin with surreal, or ater with Dada, tn the {rea in Shred Junot age of thule char the finden ves way tothe somersuh im the see. then the Frecpie athe edge of which the hero least nthe jos renvthen othe desetand the catson which bests down then tothe le hl which hes rh to an land battered the raves where dives an already snowy expanse, rom which Sees wo nd hime tack nthe garden. Sometines the ‘icles are scattered houghous hn schaay ha i powble we reconsture them ther toy. ‘Th, i Tideheocks Spend the ral dreum does not appear the Daten paste and cardosrd sequence, but shared beween sly Separate clement these at the inpressions ofa erkon Whee Eich wl become ups om pumas 0 ju 10 the Swhatons ona white cover which il price the widenirg2ut ‘uce ofa wasanin ei hen op by amenarged ls ral ving way intra eld ofsnom marked parle skies, A ‘Ses of seated images which form lage cet of mich ‘ichone lite the vrai ofthe next hat makes acta wn60 nema 2 preacher bt the ater disposes of his own movement of Prat in favour of his ihouete ax shadow hear wt the hole of mature takes on the Tesponsbilty of the childrens Trovement of igh, and te boat where they ake refuge seem {cits miles sehr on «hating lad or» eoneyor bee {Wem of hs fms Laut Mlle as more o ss ovis aed movement of worl hence the enchamtnent of this work eal fromthe buen The Lave sxe up wth the extensions ofthe part andthe moon inthe boat ip bodily states theron ik {ip with movements of wer. From Lf the Safle was the behing of thet whichbloked the murderers moverento pat init Place movement of world sovlving the other charac cilmination Black Moan, where the depersonalized mone: tents take the hetoine ih te unicorn from one world Sother and sl sother itis by eur away ro the nk Images of violence that the heroe moves from one wor a ‘thei the wense that Sane says that cach dream sa world remcach phase or mage f dream’ Each sare by ani Sas people by inversons Goundnversion of speech, ‘onsof Behaviour such hen the old woman talks the nd suck the gifs beau, n Malle away movement orld hich Orgs the character to incest. prostiaton, “grace and maker hm cpubleofarine ike the one dream ‘thy the old man who tla stores Adade ip). tn the wh ‘Sema of enchantment tes universe, depersonalied Pronominalved morements, with heir ow’ motion or ash at their inversions, pe jst a much through nature Thro artiice andthe manufactured objet wan precy ‘wsenchantment of arc and iver that /Herbie Sppurent sleeper. Neorealsm docs not go buck on, but on ‘hnerary resins tae to, ams when! extends opt! an Scund iuatons ito arf, yet conic movements wii Involve character: not oly De Stas enchantment in Mince i ‘Mil, but all Flin fairgrounds, warden, sey, tunnel Stairways rockets, oF big dippers which "nus lead the visto ‘ewer from one partnlar space-time to another sinilany {Euonomout space-time tspeily City of Women) ‘Musical comedy i the supreme depersonallzed and promt: rinalired monement, the dance wich ones dreambke {sit goes In Berkeley the multiplied and reflected gis Forma ‘helmed proletariat whose bois lege und face re the pat rom recollection to dreams a cf great transformational machine: the “shapes are like {catucopic views which contract and diate inn earthy oF tery sme, tually shot from above, turning 2round the Tonic (his and changing into eachother to end ap at pure inractons’" Of courte, even im Berkeley, an ll he more in ‘musical comedy in general the dancer or couple retain an ‘hlvidusty as Create source of movement But wt counts. ‘he way in which the dancers individual genis, his ubjectiviy Itoves rom personal ouvky to asupra personal cement, to movement of work thatthe dance mill outline, This the moment of truth where the dancer i al go UIepeaer, who wil be taken over by the movenent Sect summon him this ean be sen with Fred aie in the Walk which impereepably becomes dance (Minvells Band ‘Wagon aswell ith Kelly inte dance which yes o have es ‘rigminthe unevennes of the pavement Donen’ Singing in the Ran), Between the motor step and the dance stp there 1 fometines what Abin Mason calls 'degree 2, Hke Festation discrepancy, 4 making Ite, «series of preparatory Handers Sandviits Fell the Fron the contrary sudden tinh ap Ht Astaire’ syle his often been contrasted with ally. Ad iis tru that inthe former, the cen of gravity pps oui his slight Body, oats beyond im, and! des {Steal als rosin, and follow a ine which s now only ‘nto hislhoucte,hisshadow or hit shaows ttc extent that Is hs shadows which dance with him (Stevens Saentin). ‘Whit inthe ater te centre of gravity grounds self vertically Ina compoct body, t0 free and ase up from the inside the Mannequin mho ithe dancer "Powerfl acrobats movements ‘hetagment the enthuse and fore of Rely, twa that he {Eves himself some spring with jump is sometimes eas) to se. Xtc getures, contra, ink uproug scl wll he ‘te, tou ver urenring oem hay an Aline ucesive and. perfect shadows.” Te hie the two ‘tomes of grace a defined by Klein the bod) of man tir deprived of eonscousness and ofthe man wh ponesses “nine onscovanes, Rely and Astaire. But imboth cases, ‘nial commen mot content to gta nto ube dance, of, what “mount wo the same thing, to make us dream, The nema bcatensie inthis tha the dancer hself begins dancing as ‘Se tarts to dream, If ual comedy gives ws in anexplict nay ‘o'many scenes which work hike dreas or preudodreams with6 Cinema 2 imctamorphotes Singing inte Rain, Band Wego, and especialy Minnel’s An Ameranin Pari) iesbecauseitisendrel agian Arex, but an pled dream, which in tar implies the page ‘ta presumed reaity nthe dram, However, even preaumed, is resi is quite ambiguous. We ‘might pret the cane in wowrays-On one hand we think tha ‘musa comedy gies usin theft place ordinary sensory-motor Images, where the characters Gnd themselves In sitions t ‘rhich they wl respond throug ther ations, bu that more oF Tess progremively their perscnal actions and movements are trandformed by dance into movement of world which Racy teyond the moor situation, only to return to is ets OF we suppose,on the other hand, ta the pint of departure ony gave the appearance of being’ terory-motorsiaton a level twat pure optical and wound sition which had arene low is meso extension: Ie wan a pure description which had aed reped objet. npr ad mp I hice ‘movement of world respends direct to the cal of opsigns tnd wong (end the degree tore wo longer peal progr ine transformation but the canceling of the ordinary sensory ‘mouor inks). Ta te fst ease in the words of Masson we mone from the narrative to the spectacular, we are amited tothe Implied dream: in the other we go from the spectacular tothe spectacle, just from he fim eto the dance inthe whe ofa Implied cream which even envelop walking “The wo pois af ‘ow are superinponed fn onal comedy tu eat tha th ‘cond is more comprehensive. In Staley Donen, the sensory motor sation slow fat vies to show through, postcards OF ‘rapuhots of lndacapes,towrs and shoves" gies way ‘hore purely optical and sound itastons where colour takes oad fundamental valve, and the action, el Matened, i no longet ‘The new burlesque wo longer trates n an oupetO ‘energy bythe character, who spreads and grows s before. I Sie rom the fat that the charter places Himself Gvolnte ‘oma energy band which cacy him slong an which precicly movement af work anew way of dancing. of mete [ig thc ow frequency xave-ation ake the plato hey ail ‘mechanicy and the fll bownness of gestures.” Ii hte am ‘pce, tha ican be said that Berguon i ousteipped: the come ‘olonger something mechanic ack entre thing ing ‘movement of work carrying aw:y and sucking up the ving Jerry Lewiss se of modcfo techniques taken fo extremes (particulary the electronic dre which he inverted ony cre because it correspond tothe Foe and content te brlague mage: Pore opicl sn cod saions, hi tre no longer extred im ato, bu are connected back 0a tere. And it this wave, movement of world on which the ‘haacter placed as tn orb, which val provoke the fn Jory Lewis themes in that very spec famaszing oF that ta implied dream: the “profes by wiih the bur haratier males ther sar tote he sx uncles nF ri xpath ranch) the cis of spontaneoss generation’ of faces, or crowd; the ‘aggutnations e€ tharucers who cet, together and separate (The Big Moe) Saks rcwngsc oulnguc steric by Tain howe al whoa there beings resemblance bat with oof correspond ‘nces Between the two author. In Tat the pane the op. Sndow, became the mapreme opal apd sound aon, Th ‘aiingtoom in Platine, the exibition park in Trafic ‘ee geund in Fli wee o0_ any a Slsriptions,opsgns and sonsign which made up burn new substance Sound, as we sl see enters int profoundly ‘este relations withthe inal, because oth cee to Be Integr no simple xensry-morr schemata Ts enough 6 Mr Hulett appear wih is wlkwhichaeachstepghestarhi@ From velco t dreams o dancer which takes upand stl apis coumic wave eter, ike wind und sort nthe ie Reach in Sf Be ‘Wy he elcome howe i Mon once break dann a depenonaiecd, pronominal meen the resturant in Pigine goes to pncs in Howry which supprenes cae deeripiom inorder to give to ferent one My Talos slay reat to be cared ava bythe monemems of wld sch he ges ior ner bach nemselvs wa fr han tbe Tom: The whole gen of Tas low roquncy wave ony trone which press Mr Hult everyher, fry and breks tp groupe, nt al soparscy hareder ina Lind of modern ‘Et ie of the ite cabbies nthe garden in Mon once or thescene of the mechan weigetnestin Tf, The awa femora in tr Hae Hobday ae sendy Daney say Parade the ominous aio colours an eecconk andes Tai hid weay bis own antsing wo estrada hv nent of maa comely which oul come fram i vou ot ‘Sond and vial contursions capable of making up a nw ‘par aew sour Te Jacques Demy who aes upthe treh ‘ew mascl ome, barssungopera.s popula pers she Se He perhapr takes p the irend tk what es mt “niginal in Rene Csi when he uation bese pare ot tortie. white action gave way tou popular sng bale where {he grouprand churaterschaed cach oher osed in ono ‘citer played pautheaipper andthe four corer game in: Demy we wines optical and sound stuatons reared by Colored see eserpions hich no longer ext io ste bur ito songs, producing fn some se an "uooking 4 “icrepany of te actors We find bth Kenko one fad sensory motor stations defined by heck appl, la th feladone, ans and nuns of the tite Bu i her wa. and aa epertewe te ot meges wth wt [roves thet nt Pommeraye astage and he sung action ‘comes movement of ny and Cet here the cheeccs Pest ithout ecognsing each theron the contrary Redes ‘ser ake up opponte pions, te, sr eather wp aed ‘parte in «pure opti ad sound sation which wae an ine dream around them ‘charmed cl rte enchar. ‘ment Arth Lewis and Tau use which replace steaton, $d he oand ro which replace acon,4 The crystals of time 1 ‘he nad jun pre: ioges turoundstem h Tessie ay dy Eon fr per and ger SEM TASS Wi ani le lg oa rc ge PE ee and ring Th ry the em re Gott oni Slo Mo, en aerate ion fiend cai Tithe ped Sle me), Shalt the pp dec ie arcs Conrad the ogee of agi Seren fr ttn ce us tra i SSSNRE SL p he tal age bene 2 ay ‘Grane net one che sma Dake te ay real freon dea ame sea as sexton pots and ete othe ay Tumi ‘Fascet etn sesdy pear inti hroogh esac iter ston Sek ade between eh enact aks p nl ese poe nor ‘[hinpriel meting onde eaten SSSBPAEGD stitute of eocdon whch gw teeth sl na ton al crn he ‘cane oft murder ws as jt tate place h ‘Spe feat is econ sonic wecanty tht lage toes sviimage hepato TRE cretion te Reeson me he rea eect ae cla ace oie wach ml {HiInd atures mes or the re here eer ceo thee formation of an mae SGU, estan ageing mins Foe ors pos cn i: nee dlpendener and rae tn i tal rent hs ean hat te aie reve iether eed ene pote ‘ota eccentric rae acapnere ther spi genre a repo were tee cnet eparent lnc of bagel care esc aerl secomtnty tn abot Seren! hi age er ec ee be a “The esta of time oo deel, corresponding to dceper and deeper layers of reality “Inu higher and higher levels of memory or thought. But iti this ‘Mow rete cru of the atl image Sd srtual image "caren ving ar serve neal it We have ‘cen hows on the broader txjectoie, perception and real: ‘Sethe real and the magna the phic and the mena her their images, continual followed each other, rarning Thin each other and referring back o each ether around 2 fhe of inderility. But this point of indacermsly i Precsly constated by the smallest rede chats the coalesce Eine actual nage and the viral image, the image with two ‘Suen acta and virtual atthe sme time. We gave the name ‘nga and song) tothe Staal age eto from its motor ‘Kensioms it then formed large circuits, and entered imo ‘Smmuniaton wth what could sppear ar rection images, {eamimages snd world-smages. Burt here we see that the omg finds iste genet: clement when the setual opal Image {Sytallae witht om viral mage, the small internal iat This i a erystalinage, which gives ux the key, oF rather the ‘hear of opaigns and their compositions. The ater ae no hing ther than avers of erst images. The ryt smage, ar erystaline description, has two definite sides whch ate ot tobe confused For te confusion ofthe el “une imayinay va simple error of fc, and doesnot affect ‘heir discer bly the confess produced solely ia someone's head Butindacernibityconsieates an jective iuson docs ‘ot suppres the diincuon between the two Sd, but makes it Sinattibutable, cach side thing the others role in a reation ‘tick we must describe a reciprocal presupposition, o reer Uaity Tn fa, there iso virtual which does not become atl ‘elation tothe at he ater becoming vital through the ‘Sime relation: fu pace apd ea Obwefa wath are sally ‘rerble: These are‘muttal images as Bachelerd past where tn exchange is caried out The ndiscerbiiy ofthe rea and ‘heinmginarysor ofthe present and he part of he actal ard the Virtual deftly not produced in he ead or the mind isthe Utbetvesharacterae of certin existing images which ae by ‘ane doubles Henee two orders of problems aie, ove of Structure, the cher of genes Ft what are these conaoldats “Iaualand virtual which defines enstalie structure (in 3 eter aeathctirather than ascleni, senae? Ad ate on, ‘Shai the genetic proces which sppearsin thee struc?10 mena 2 “The mos familar casei the mirror. Oblique micros concave and convex ners and Venetian mirrorsareinsparabe froma. ‘iret at can ta seen throughout Oph’ work and in Lowey, ‘pecly in Eve and The Sevan Thi crit slo a ‘Stange: the misroriomge is viral i relation to the acta ‘Sharacter thatthe mirorexches, bt i actual i te mre ‘which now leaves the chracce wi only a virtuality and pushy im back ut of eld. The exchange fall he more acive when the dreut refers tos pobgon with growing mimber of side ay inva face reflected on the faces of rng. an actor seen in a infin of twin. When virtual images proerate ike thi, al together they aor the entire actsityof the character, at the {Ste tine athe characer sno tore han ane vituaiy am ‘thers. Thi sation vat prefigured in Wels Caen Kang trhen Kane pases betwen wo facing mirrors; buiccomesto Fore ints pare stein the famous place of mirrors in The Lady fron Shongat, where the principle of indiserbiity reaches its peak perfect cstalanage where the multiple mirtors have Svaumed the actualy ofthe two characters who il only be able {o win itback by smashing ther all ining themselves side By de ad each king the other “The acral image and viral image thus conse smallest internal rel ulmately a peak or pote but a pl point which ha stn element (ai ike the epicurean tam) Distinct but indiscernible, such ate the actual and the Wf which aren continua exchange. When the vital ‘Becomes acta then snd lipid, ain the mirror orth soli of fished crys Butthe actual mage becomes iain Insta refered elsewhere. nvnble, opagae and shadow ke ys barely dislodged rom the earh, The actual virtual ou thus immediately extends into the opaque mpd, the expression ‘ol therexchange But needs ons modinction of condoms (woubly of temperature) for te mpi face darken, and for the opt face to acute or rodacover ws Hpi. Ta ‘xchange stared agun So longa the conditions ae nt precetherets define a dtnion between the two sides but {hey ae indacermble: This station scms to bring us lose ‘ence: Andis no teint that its developed i ans 36 ‘raul of a ckenticlpraton, What interests anus, howevet Irth ‘power of acne te relation toe and few of a is Projection imo the ife’of men of scence themacies® TBE Sirctr of Cale cleahy shows tmo men of sence one of whi The crystals of tine n ee ee puis ceareinesenens acerca ares iio etemeatiecsaneeee eens Soe nee SSeS Sone Secor one ae eee os Evironment What wil be the aced with which we can sow the Sacer Satis ae Sheri o an Senna aici gat Sit cea eet baneameemres eieachecrenmmecs ieiaoas remanence ae aes Sedat teen aaenagty cetaceans pobre muantheteicr lear eae Conuyainireieacesamn Cinema 2 ‘hem, But the more the viral image ofthe roe becomes actual impute more the aca mage ofthe actor moves int the ‘odors and becomes opague: there willbe a private project of the ation a dark vengeomce, a strangely obcwe criminal gr Jase ringing acy Artis wterground activ) wi {Nctach tell ane become vse in sen, athe interrupted role falta into opacity. We cr already recognize the dominant theme of Ted Browning's work in slot ln. fake limbs tan akestohisroleand bas hu arts really cutoff for helo Some con ne mara at ica en Ts Ggnnty by organising the rrr of «ial who sw ‘Unineu). In The Unk Thre the vemiogus Echo can langer speak except trough his dummy, but gsi contra Nimsl nthe criminal projet he purus disguised aan od ‘roman, even hough he confoses is crime though the mouth {the man be was wrong accede monster in rear age monsters only because thy hve been forced to move int thle ‘aplc role und ie hvoogt 3 dark vengeance that they {insets again and regains range clarity which arrives inthe Tigunng to incrrape thst fle" tn The Black Bods the Chore of» wanfrmation hth actor ruc y pra ‘ther he war going ows his rele of bishop ina rninalimen-as Tike monatous exchange suddenly fone. An sbormal, suff {ating slowness permeates Browning’ characters in general it {he cea. What we sce in Browning i nota reflection on {hau ore ce awe wilce neers, uta double fae {heactor thatony the cinema oul capture by istutngis owe ‘Sreu. The tual image ofthe public ole betomes actual, but felaon tothe virtual image of private eime, which becomes {tna intr and replaces the fst image, We no longer Koo which tae roe and which tthe crime: Perhaps it peded 3 Chuoordinary underanding between an scor ard a dhe Browning ind Lon Chaney This cyvaline cca ofthe af ‘Stranporen ce and ope ace, raven, Browning hve poetry ofthe unsuignabein hwy. tseemsthat igre to resy have nbered His inpiation: Hitchoads ‘Handa and Ichkawats Aw tr Revenge ith marvel ‘ack backgrounds “Tosh varied it we shoat ad the ship. 10 isa racket ire isasifasine Turner pining apt two nota Secaent but a power which part of the ship. Te Herm ‘Melle who, ins novels sed this stucture forall ime. Seed The erst of tine nm neg ihn be a op feereivimaa en arearceeeer ate ‘cen acon tends cs Sinai inerrant ae IR eae ns eee ane ata Sentech es SEUSS Mey ST te ee Teeealic al ‘Siti ape seer a Ty SEAS Reco Sai, Sitmaeitica net cmseet seriechrolbrtnati ua aero EQgr ee ease ie ees Seta Santen tae i Aceh hepsi Sin ceed peed cea Hep dS RES gt ects sciasctelee pana plete ce SSeS SREY ae ee Scan cag deren ge Sopot tae peg smetinetemet emer ena Eilon bee cyetterrndinesrsts Simp rer naman Spat gee Sse grt ee rai Reece abet te eee te Snr asc ‘ee ond ee ste ath rit “SE Sir apn at wg ie ay a™ Cinema 2 amorphous environment, amelancholy #hinoceros which sand ior Moby Dick. This the mutual image, this he eye ofthe {ysl ship in’ poral ad musi end of the world, and “Ihomg the fina gestures the young taniacl terreris. wh ‘int sop hime throwing Bnal Bomb no the dark ship ‘arrow porthole “Th ship can alo be the ship ofthe dead, the nave of simple chap a place ofan exchange. The viral survival of te dead ‘an'beactaicd, but i tie not atthe price of our exitency Shick becomes ital turn? ithe dead who belong to us, oF Tre eho belong tothe dead? And do we love them against he Ising. for ned wit ie Truffaut ine fi, The Gren oom, ranges the four faces teh form a strange geen ctl a “mera. Atone pont the ero ides ina sheer with dulled. indows with green reflection, where he seems to have a umcous custence, where inposbe to tll whether e [Rigor dead And inthe chapels erytal can be seen a thowsind ‘andl bun of fire which is alvayymisnga branch o mae {io te perfect figure Toe fal ead of he or she who hat teen ait igh nly the a-bt-one wil always be mining {edhe peste eich ment ryt ‘Thera expresrion. Expression moves rom the mirror Aneto isthe sn ccc wich pate rough three igure {he scmal the val the limpd and the opaque, de seed Sind the eavronment Inf, the seed on the one had he ‘ina age which wil cystalie environment which i at present (aclonn| sorphous:buton the her hand heat reste a stroture whith vital rau, elation to whic the seed now plays the oe of sta ina Once agai thelacual andthe rua are exchanged ina ndscer nay hon ih cron ae dition ume. a am oe in Citen Rane he reas apart wen {ako the hands of the yong man, but the sow that Contained sero to come towards sn gst impregnate Me ‘Sivonen (ius that we wil digoner We do nt know ‘Sdvance the val seed Ronebud) willbe acute, because ‘donot know naa the ta eminent cy th rseapnding vita Perhaps thisisabo the perspective fom ‘tlic to understand the splendour ofthe images in irr of Cs, an the bin double aspect. The search forthe aldhenkal heart and seers, forthe red crystal, inseparable ‘om the seach for coun lint, a the highest tension of i The etal of time % ad she deepet evel of realty. But the crystals fre will Hive wo connect wk the whole range of manufacturing for the ‘orl, For is par to sop being sia. amorphous cnitonment “tic ends atthe edge of gl and to revel ine ere Potentials in seve erth rcs up from the wars, Tce ‘ew earth). inthis fim Hersog has set out the retest ‘rymtahimages inthe istry ofthe ema, Theresa snags ‘tempt in Tarkorsky, continue from one fm vote net at ‘ays coc gain: ori tarsing cyt with sees we ‘eat ito the vie ada characte ts mother hee wah Tour sidesif we react two visible couples (bs tnotcr and the ‘hilt he was, is wie andthe dl heb) And te etal ars ‘itll, ike homing device that searches an opus emiron Ime: what Rua, whats Russa? Te ee cere oe fToren'in these sodden, washed and heavily trachea age, ‘th thet sometimes sh sometimes brown surface, whiethe ireen environment seems in the ra tobe unable fo beyond the condition af hguiderystal which keep it secret Are we to Believe thatthe aft planet Sols gies reply ad hat il ‘exon the ocean ad though, the con ronincat athe ced, once designating the transparent Tace of the cyt (he ‘alnaonered womat) and thecal form of te unerse (ihe redacovered dwelling? Solaris does not open up. ths ‘ptimism, and Sule eur the envionment to the opacy of fh indetrminate tone, andthe seed tthe morbiy of me hing aboring, cloned door. Tarkovsky’ wash (he woman aso washes her hair against a wet wall Miron, the ane that [rovide rythm foreach flay inense av Aronionl or Kurosawa, bt with differen functions constantly bring ws back ‘othe question’ what During bush, wis re, what su what Sponge wil aunch hs earth Serge Dane obcrved that ater ovaent, certain Sovet Bimmer (those frm ester Europe lie Zanus kepetbe taste for hesy atria dense sill es which were, sn connrat, removed by she mavement image in western cinema In the cya image there this ‘atl cach blind snd baling of ater an sp beyond {he movementimage, im which we are sl pou The sed and the mirror are taken up yet again the one inthe workin proces of being made the other inthe work fected ‘he work These wo theme whieh had run had afer Cnem "ected ina theatre play,» show, panting rb ln16 Cinema 2 hin the sometimes he ln which aes me ‘etn the proce ota taking ro estas in big made, ‘dst hanes ee em Hing the mongers scny reac ages inthe min intYear Reand Rte theatre seme ae mages na mired te toss pure cya itu tamparenc ae, opaque al thei change)" Incotran,elnse oascod age Proce of ting produced’ wich eds ont shacks (xp Fortops nthe yee wi tne cpa which erosuce iret aye), Wee The So Thing lth more trctiorm Weame i ona, tecanesdipenct and can bal ‘Shei ony inthe reson whch Host Bast Reson ol ‘ometimes proved att gn whoa econ. pthape thefin Song ih Vertov ave mode the a kin the Bln. tn She jon lesa oem ofa ror age froth cco n The Canerman ste form of sel sich serres dey va the Grows ren tag manila ya mcy ora report sed comisnc the nn pce Wing made. Sometime, nthe omer hand in the Hamner of iad Cents he vo nent ewe canes oman ‘tp becoming inditnguaatie'" in Cadards asm, the pe ‘Siat'and muse ltr sna are in the proce of bog rode; ath sae tne te fete worse wt ad th Kosar the miroramage af what neverel rete them ASemcher’ Un Riene, thearealreprecnaioe 1s iad inape bay precy becuase log tefleced, hence the very od ole othe earls of Peidesin Pan Blogs Us, or Phaedra in Lamour fou. Yet anes fem ‘appears in Wells's Immoral Sto the. whem was the ice tn Sood on ln tore the ital scaion bell ‘ould mate the legend fae germinate und give back tothe ie wat menial that he cinema in the ert ofthe action image wen through melancholic Hegelian reflections on ts owm ak vgn tore story ole woul theta a ope Sn woul to ttlonasownatory (Wenders). Bun face {he work inthe miror and she work I seed ave Sccompanied ae without ever existing bec found ‘hem a means of creation for certain special images. By the sae the seed of that which does not manage t come to completion orto be The crystals of time n en i gn neta chasms pa ttn igrnal anata eae Dorel d cue neana ee Schseicte gemini eat seicstshibar icra ioe iiecmnrpence mioeae gh omspray, oa pl. This was aiready tre forthe deste i he Sieicattiireoclak Sas eoapeneinecaniccn tem ‘iene, with she ris ofthe actin images and it ot on Ahrough Za Yearim Merenbad. etal this wou only consis seeerea ener ete Een poral aera teen ta Erion es betaraa a ee a yt nee fam fae wearers Ee gee Acne et a catia neces tee Spicteiasss areas ceca cccgeae ones ind Seer engeeans eRe Tharticuaeara aaa See nett ee Soca cherhaetinmeeneeate Sree ie tener icereepoatatean msc ecg at Sosa Natio agenda saeco ie ‘ecyayeoetg taser etna “ting the death ofthe Bln, in sch away at make nin that tere isnot and there never wil be, eualence "uaiy in the matealcamera-money exchange Ths the old curse which undermines dhe cinema: time ‘money. fits true that movement mantint at of exchanges "equivalence, symmetry ae an inatant, tine iy notre the ‘conspiracy of” unequal change oF the impossiby tan78 Cinema 2 ‘equivalence. 1 inthis some that ti money: in Mar’: ow formulations, C-MCisthatot equivalence but McCM thao impossible equivalence or tricked, dsyinnetrial exchenge Gadard presented Pasion sx posing precely ths problem xchange Andif Wenders as we sm nthe cae of heft Ray treated the camera asthe general equivalent ofall movement af ‘wanton, he disoversin Pe Sito Ding then possi oa ‘amera-time equivalence, un beng monty or ihe orculaton a money. Herbier had sid alsin astonishing and moeking lecture: space ad tie becaming more and more expensive i the mxern work, at had mae te internation nus an thats, ema, n order to space andl ime asia ‘earrants of human apt This was not the exp theme oe ‘he masterpiece Money butt waste mpi there (and in ‘ofthe same tile, nied by Toloy. Breson shows hat money Becaset ofthe order afte, makes impor sy reper forevildone, any cquivalnc or os retrbuon, exept co ‘through grace), Im shore nema one tas ‘presuppeatin, money, and te mover mage mak wy for ‘Srtmoge non and the some oferon. What te im within fim express hin infers Gre tetween the image ‘money, this inflaton which ne pus into the exchange, ‘overwhelming ree Him m movement, bu he fim the fm is money, i time. The cryaranage thus reeves, Principle which sis foundaton: enenlyrelsunchingo ‘ics dsymmetria neal snd without equnalence gi image for money. gig tine for images, converting tine. tamparentside and mone the opaqee sie he spring mits end. And the lm wilted when there no oney ket 2 The crystahimage may well have many distinc elements but lnreduchity consists tthe nde unity of an etal image an it ira image But wa thi ital nage incomes ith the actual one’ What ss muta image? Bergan const Posed the question and sought the reply tn ime aby, What ‘cvalisalwayea presen Butthen,precely, the preven changes ‘rpases Wecan alwayssay that tbecomes past when no loge heen of time 79 {whens new present replaces it But this is meaningless I Scaiy necessary for to pass on forthe new preset to arrive, id it dearly necesary Toro pas athe me de at resent at the moment hat it the present Thus the mage has [he present and past sl present and area pst st ome and the same Ue. If wat not sready past the seme tne precot the presen would never patton. The pas doer not oho the present thu snolonger coals with present twas The present isthe acl image, andi contemporaneous ya isthe viral image the image in' mirror. Acording (0 [cron paramnesia (he iason of dtu or already having been there simply makes this obvious pot perceptible there os ‘clleton of the present, contemporaneous wih foe present cel ssclosel coupled wea ole toan actor Our atl extent, {hen, whist is unvoled in tie, duplicates sl abmg th ‘ntl extence, 4 mierorimage. Every moment of Our Ife present the two tpech tisactuland vital, perepion on he {ne side apd recllection on the other» Whoever Becomes onscious ofthe continual dupscating of his presen rt percep tin nd recllecton -willeompare himself tn cor playing. hispart automaticaly ening whimsci'and beng hie paging Bergaon callhe viral image ‘pure recalecton te beter 19 sisting rom mental images ~ recalection images, dream ‘or dreaming ~ with which i might be ready confused Infact the ater ate cerainly virtual tages, but actual or th ‘course of actuation in consciousness or paychologieal states ‘Nndthey are necenariy aualeinrelaion tos new presensin {elation oa ifferent present from the one that they have Ben: Ser th mre oreo ce cranes ian cordance with the reuirements ofthe new presert whl ‘denne us later than the former one, and wich defines the former one carice scording to 1 baw of chronological ces the realetion-image wil thus dated). noms, ‘he viral image in the presse defined, not in accordance ‘ith anew presen in eaion to which K would be welatveh) st but in Secordance with the atual present of wich i the Dt, sbolucly and simultaneously although specie one hele prt of the past in general, the sense that hs ot yet ecesed date Aspe vital, docs nathave tobe ‘lized since stil correlative with the atl iagewith hich i formate smallest circuit whichservesa bao on80 Cinema 2 all the others tthe view image which corresponds to particular actual image, mstead of being actualized, of having i feta neat cl mage na actual id ‘irc on the spot, and nota actuation ofthe vital ap ‘cordance with shifting ntl tral images an at a ‘nga age The virtual image (pee rection) is nota psychological sate or aconscousnest texas cute of conscious ining aed we should have no more difelty in admin the vit inwstence of pure recllections in me than we da fer the aa ‘xtence of on-perceed objets space: What caus ou Imistake i that recollection images, und even dream images ot Areaing, haunt acomscusnet which nectar seconds hem 8 capricous or intermitentallare since they we acta scoring tothe momentary needs of this concours Bui ‘ye ak where consciousness going ook for these vcaletion images and these dreanrimages thie reverie tha k eve condi os sate, we ae led bck to pure virtual ages ‘rich theater are niy modes or degrees of actuation, fata Scere thing inthe where tea and eto place trees mony things i order to perce them, we goin for callecton nthe place where tr we have to placurees vith leap imo the pas in general, ito these purely vital image wih have een ony peeve hoop ine inthe pasa itisinitsel ast prcnerved in sel tha me O. leok fr our dreams or ocr releone and not the opposie® {ti only on this omtiton thatthe recollection sage sl erry {the ign ofthe pst which tistinguihes from adiferen image ‘or the dream-inage the dtincve syn of temporal pape tne they exhaust thei in an orga stu TAG hy ‘ler we were able to atimiat vital magesto en ‘coleaio-images sea or searing thse mere 30 ma ‘complete solar, bt the tak ofthe right slain, The ‘ore or les broad, way eave, cre beeen the peat 4nd the pas, refer back the one hand, tos snl eters et ince «pret a mo sbi a Image sod i viral age! on the other hand, they reer to ‘leeper an deeper circuits which ae themelvs vital which caine nett who hc tn wh he are ‘rotate ot plunge to race sn ttl shape and bring nth Prouisonal harvest" The eywalimage as these tt ape {mternal lint of all he eative circ, but also outer ri eof tine 8 ae sroses oft acts tn ph Solon cae geen peony en Pe Sor ges heccacemeneeephcconntsatcane a Spoke acre eae ae eee rete Meee cae ee eee eee eee Soe eres een as i fmt bc sb at Suspend prefaces are etewe Cinema 2 completion, became itis ppt singing dings an th pres of ing diet ich aay snes he ‘inter inivet none conamiytorcaneie tigi asin abd edoie hea oe cern election might rin at ee ea ea iroring can ony rer sit nine ane inte rnineh of enient new png The el ee Ste th pint ot inert nt aga ‘cualandthe vial whiewtatwe mein teehee ae ae {Ties in ne pre nate ey lneion eee ines which heen rcosing e Se hae n siren sates of the cp depeing on he atonand th figresof wate acen Weare ce the clement a the ys tr muh can sane at Shes ncn noe ye ae fon ma these in srs low: the pt con ‘with the present that it has bees; the | on ime fe, A itistru that Bergion hao express melds. the outset. But, increasingly. ne came Yo sy something ga siferent: the only subjective, non chrono al raped ints foundation andwiswe who are internal se the oer way ound That wee in tine ks He + om pc. yeti the highes paradox. Time ot thence but just the opposite, the terry in which we aren whieh move veal change. Berguon i much cloner to kant than himet think: Kanedetned tine athe formant a sere tat we are internal t me (bt Bergion cance ‘saysthat time's mointernal ou but that we ore imcr naling, Ithch divides tll in two, which ies tel and iconcre ela It which makes the present ass ad the past be preserved i the cinema, there are perhaps thee His which Soe hoe we Inhabit ie, how we move inf in his form thet earns oa aay, picks us up and enlarges us: Dowehenkor. Zarepene Hitch’ Vergy and Resi frame j Came tn Reson the opaque hypersphere i one of the moat betel eye images, while what we se inthe crystals ime el the gang | forth of tine. Subjectivity never our. tintin, thatthe eo focwitin : arth mpi the Th ta alas bjt, ut he | or ian aa segs eae Siete ornate ea aay ial 3 Let us suppose an ideal sate which woudl be the perfec ‘pleted crystal Ophal’s images are perfect ery The {Scere ate oblique mirrors stn Madame de And the misrors re nocontent with reflecting theacual image but constitute the prism. thelens where the spit mage constant runs afters Connect up witht aon the cieusrackn Ea Montez Onthe {tick or i the crystal the impraoned characters bustle acing Saco, ait ike Raymond Rousel'sheroesexerelsng thet prowess atthe heart of diamond or # gla sage, under an {resent light (The Teer Enemy One can only as tar in the Srysalhenee the round of episodes and luo Of colour (ala Mont) of waltzes and also of earings (Madewe de.) of the mater of eremonies vison inthe round in La rode Ciyealine Perfection les nocutide subse therefsnootade ofthe mirror {rhe fm sr, but only am averse where the characers who Aisppear or die yo, abandoned by Hf which thst af back into the i et. ona of Plan, the earn gf of the