Brain Falls: The Power of The Falls

by Terence Blake

Résumé
Dans ce texte, je considère le film de Greenaway, The Falls, comme une méditation deleuzienne in extenso sur les modes de réce tion d!un "#énement$ %e soutiens &ue '() le film déterritorialise la forme documentaire * tra#ers la narration falsifiante des réactions * un é#énement in#isible et inex rimable 'a elé le Grand "#énement +nconnu), ',) &ue son contenu re#ient * n!-tre &ue le catalo.ue de ces différentes réactions en termes de erte d!une identité réalable fixe et d!entrée dans le de#enir 'le film énumère les différentes modalités et de.rés du de#enir/oiseau, '0) &ue sa subjecti#ité sous/jacente est celle de la li.ne de fuite acti#ée ar le de#enir 'illustré dans le film ar "rhaus Fallu er), et &ue '1) sa #ision est d!ordre étholo.i&ue, car il s!a.it d!une ty olo.ie des de.rés d!affinité entre les de#enirs et la li.ne de fuite, allant de la conformité * un modèle 'oiseau/ de#enant) * l!in#ention d!une nou#elle ossibilité de #ie 'de#enir/oiseau)$

Abstract
+n this text + consider 2eter Greenaway3s film The Falls as an extended Deleuzian meditation on modes of rece tion of an "#ent$ + ar.ue that '() the film deterritorialises the documentary form with the falsifyin. narration of res onses to an unseeable and unsayable e#ent 'called the 45ast 6nknown "#ent7),',) its content amounts to a catalo.ue of these di#erse res onses in terms of the loss of re#ious fixed identity and the entry into becomin. 'the film enumerates #arious modalities and de.rees of becomin. bird),'0) its subtended subjecti#ity is that of the line of fli.ht em owered by the becomin. 'exem lified in the film by "rhaus Fallu er) '1), its #ision is etholo.ical8 a ty olo.y of the de.ree of affinity between the becomin.s and the line of fli.ht, ran.in. from conformin. to a model 'becomin./bird) to in#entin. a new ossibility of life 'bird/becomin.)$

Plan
• • • • • • +ntroduction +$ Descri tion ++$a$ 2remise +$b$ 9tructure +$,$ Time/ima.e and the brain +$0$:ines of fli.ht

Texte intégral Introduction
This a er stems from a series of in#ol#ements and encounters o#er a lar.e number of years$ First, there is my lon./standin. in#ol#ement with the hiloso hy of Deleuze in .eneral, and with his work on cinema$ + first encountered his work as a student in ;ustralia and it amazed and ins ired me to the oint that not only did + teach myself French to be able to read his work, which was at that time almost entirely untranslated, but + did e#erythin. + could to be able to come to France and attend his lectures$ +ma.ine my sur rise when + arri#ed in (<=( and + disco#ered that his seminar was de#oted

to ex lorin. the relation between thou.ht and the cinema$ ;ll + knew of his recent work was AntiOedipus, Kafka, Dialogues, Rhizome 'which was later to become the first cha ter of A Thousand Plateaus), and some other cha ters from A Thousand Plateaus which had been ublished inde endently$ + arri#ed in 2aris then at a moment of discontinuity in Deleuze3s teachin., when he be.an a new series of seminars and books, which lasted 1 years, after which there was another break and chan.e of direction and his seminar was de#oted to Foucault$ >y sur rise was accom anied by deli.ht as the seminar ro.ressed and + could see how the conce ts he had de#elo ed in his re#ious books 'on Ber.son, 9 inoza, ?ietzsche, but also in Difference and Repetition and Logic of Sense, as well as in the more recent works + mentioned) could be transformed and a lied to .i#e a new com rehension of the cinema$ There was a unity after all, but it was one achie#ed by what Deleuze calls re/linka.e o#er these breaks in continuity, and o#er the many smaller/scale ones that were manifested in the de#elo ment of his teachin.$ 9o + can bear witness to both the ru ture and the refined continuity between Deleuze3s work on cinema and the works both before and after$ For the &uestion has often been osed of the relation between the cinema books and the rest of his work$ This &uestion has taken the form lately of8 4+s a 9chizoanalysis of @inema 2ossibleA7 The term 4schizoanalysis7 refers to the roject de#elo ed abo#e all in #olumes + and ++ of 4@a italism and 9chizo hrenia7, the .eneral title for Anti-Oedipus and A Thousand Plateaus$ The &uestion is osed recisely because of the ru ture that + ha#e talked about, and of the fact that many of the conce ts and analyses de#elo ed in these books are absent in the work on cinema$ There is an im ression that the cinema books are somehow incom lete$ >y ex erience and my ar.ument is that there is continuity, recisely the sort of continuity constructed by the relinkin. o#er the interstices between acts of thou.ht that is described in Deleuze3s work on the Time/+ma.e$ 9o it is both reasonable and desirable to make use of conce ts from all of Deleuze3s works to understand a articular film, and there is no need to limit oneself to the conce ts em loyed in the cinema books$ ;s soon as + heard about 2eter Greenaway3s The alls + knew that + absolutely had to see it$ +t is an amazin. film8 intelli.ent, stran.e, beautiful, absurd and immensely funny$ This a er is an attem t to ex lain my enthusiasm for the film by usin. Deleuze3s conce t of the cinema of the brain, or cerebral cinema$ But Deleuze is &uick to clarify that 4cerebral7 does not mean 4intellectual7 as the brain is de#oted to many functions and not just to co.nition8 there is the ercei#in. brain, the affecti#e brain, the animal brain 'includin. also the old mammalian brain of the limbic system and the e#en more archaic re tilian B/com lex com risin. the brain stem and the cerebellum)$ 9o in fact there is no real o osition, as in a @artesian dualism, between the cinema of the brain and the cinema of the body$ Both are as ects of the time/ima.e and its need to re lace the old stable 4normal7 linka.es of the sensori/motor schema by more su le, more di#erse, more com lex, and more inclusi#e links a ro riate to a more 4rhizomatic7 thou.ht and ex erience$ +n one of his classes on the cinema Deleuze remarked that his classification of cinematic si.ns and ima.es could e&ually be seen as a ty olo.y of li#es and of modes of existence$ 2eo le li#e in terms of existential riorities .i#en to transcendence or to immanence, to rece ts, affects or conce ts, to action or to #ision, to identities or to becomin.s etc$ The ethical dimension is always resent and intertwined with the etholo.ical in the attem t to describe, inter ret and e#aluate modes of life$ This ethical dimension is resent in The alls at e#ery moment, in its humour, in its fra.mentation, in its sub#ersion of the documentary #ision of truth, and in its ty olo.y of res onses to an "#ent and to the becomin.s it en.enders and fosters$ >y lan will be a sim le one based on the lan that Deleuze uses re eatedly .oin. from '() the molar le#el of formal or.anization 'here + will describe the remise and the structure of the film) to ',) the molecular le#el of becomin.s and ower relations 'here + will describe the conflict between two ima.es of thou.ht in the film8 the do.matic ima.e embodied in its documentary form and the rhizomatic or nomadic ima.e embodied in its constant arodyin. and underminin. of that form$ + will finish with '0) some considerations on the rocess of subjecti#ation which is both illustrated in and exem lified by the film$

I. Descri tion
II.a. Premise
The remise of The alls is that a far/reachin. o#erwhelmin. e#ent took lace on %une (0 in some uns ecified year, creatin. (< million #ictims of this 5iolent 6nknown "#ent or 56" for short$ These #ictims ha#e all been affected in #arious ways, for better or for worse$ There is the introduction of sexual &uadrimor hism8 the #ictims can now be di#ided into four sexes instead of the orthodox human two$ ;ll ha#e ceased to a.e and ha#e become ractically immortal, barrin. fatal accidents or diseases$ ;ll ha#e had their mother ton.ue erased and ha#e be.un to s eak one of the <, entirely new lan.ua.es roduced by the "#ent$ ;ll ha#e under.one more or less se#ere bodily mutations that ha#e often introduced atholo.ical states, but sometimes enhancements, and which seem to be the be.innin.s of a transformation of human hysiolo.y into a more bird/like form$ ; recurrent atholo.y cited in the film is called 4 ata.ium fellitis7 or 4skin/win. a..rie#ement7 in which the body3s transformation seems to be sketchily tryin. to e&ui the sufferer for fli.ht$ Cne 56" #ictim, >elorder Fallaburr, a arently can fly8 The 56" had affected >elorder3s si.ht for the better and his hearin. for the worse, and the muscles alon. his arms, and across his chest and back had become enlar.ed, en.or.ed and stren.thened$$$+t was this useful characteristic that e#entually ersuaded >elorder that his historical and theoretical knowled.e of human/fli.ht should be ut to ractical use$ The "#ent is ne#er in fact de icted or described nor do we see the mutations, atholo.ies or enhancements$ De learn of all this .radually in iecemeal fashion from the #oice of the commentary that recounts the bizarre effects and conse&uences of the 56" while the screen shows mainly ima.es a arently meant to be in some relation of illustration or confirmation of what is said$ The screen shows us a bewilderin. array of filmed houses and landsca es, of hotos and drawin.s and ma s, of &uizzes and inter#iews and recitations$ The ima.es are sober, com osed, ictorial, in contrast to the bizarre and absurd bio.ra hies recounted by the commentary$ The 4#iolence7 of the 56", like the "#ent itself, is ne#er re resented in the film, we ha#e only the in#entory of its effects8 the confusion of ton.ues, the sexual &uadrimor hism, the bodily deformations and enhancements, the obsession with birds and fli.ht, the dreams of water and flyin., the fixation on the e icentre of the 56" which may be the :leyn 2eninsula in Dales and more recisely in the Boulder Crchard located there$ The #iolence is not in the s ectacle but in the unseeable and unsayable e#ent and its effects$ For Deleuze e#ery e#ent contains an intensi#e otential ener.y inse arable from a relation to the intensity zero and so to a fall$ Eere is one hiloso hical justification of the title of the film8 these are the intensi#e falls roduced by the actualisation of the e#ent$ De may ask what is the .enre of such a film, midway between 9cience Fiction Thriller and encyclo aedic documentaryA 9ome writers refer to it as a mockumentary, as if conflatin. it with a rolon.ed >onty 2ython sketchF and it is true that humour is e#er resent$ ; better cate.ory would be that ro osed in another context by :aura >arks in 49i.ns of the Time7, where she talks about 4time/ima.e documentaries7, in which the form of truth of classical documentary is treated as itself a fictional construct$ +n this sort of documentary the e#ent is unseeable and unsayable in our current re.imes of #isibility and enunciability8 Time/ima.e documentaries are 4difficult7 /not because they intentionally seek to frustrate the #iewer, but rather because they seek to acknowled.e the fact that the most im ortant 4e#ents7 are in#isible and un#isualizable$ '>arks, $,GH) Eowe#er this #iew of a new sort of documentary does not .o far enou.h, as for Deleuze the time/ ima.e makes use of a 4new7 function between those of fiction and of documentary8 fabulation or

the story/tellin. function$ The roblem with arody is that it is in dan.er of maintainin. the form of truth but .i#in. it an absurd content, whereas fabulation undermines the model of truth, as a fixed re/normed re/coded objecti#e oint of #iew$Fabulation makes use of somethin. outside the dichotomies of re resentational thou.ht, functionin. accordin. to what Deleuze, after ?ietzsche, calls la uissance du faux /the ower of the false$ This is the second hiloso hical justification of the title of the film 'The alls I The False) and it is the reason why + ha#e subtitled this a er 4The 2ower of The Falls 7$ The film ur orts to be based on the official 9tandard Directory that catalo.ues the nineteen million 56" #ictims, far too many to resent to the #iewer$ 9o in order to .i#e a re resentati#e, and suitably randomized sam le, the film limits itself to resentin. the bio.ra hies with suitable accom anyin. ima.es of those ninety/two 56" #ictims whose name be.ins with the letters F;::$ The film roceeds in al habetical order with no unifyin. narrati#e$ The unity is a loose, o en/ended one based on re etitions at the le#el of the themes and certain constantly recurrin. #isual elements, as well as re etition with #ariation in the music that accom anies the ima.es and commentaries$ :ittle by little the elements of music and lists of bird/names culminate in the construction of the ;nthem of the ?ation of the 2eo le of the Bird8 4The film closes with a credit se&uence structured by the chorus of the 56" anthem/ whose creation has been successi#ely ma ed throu.hout The Falls J and whose ima.es are the film3s 56" witnesses rojected onto yet another screen$ There is no mistakin. you ha#e been watchin. a film/maybe you ha#e been watchin. a film of a film7 '2eter Greenaway, The !e" Social unction of #inema, BF+, (<=()$

I.b. !tructure
The alls is the first feature/len.th film made by 2eter Greenaway and was released in (<=G$ +t contains many references to and borrowin.s from his re#ious, more ex erimental, short films includin. brief extracts, an al habetical rinci le of or.anisation, the obsessi#e recurrence of the number <,, ornitholo.y, Tulse :u er, defenestration, eo le struck by li.htnin., bathrooms, etc$ The form of the film is a series of ninety/two bio.ra hies of #aryin. len.ths,.oin. from se#en seconds u to a little o#er fi#e minutes$ The bio.ra hies are s oken mainly by an off/screen commentary, althou.h sometimes we see a commentator in a sound studio, or more rarely on a site related in some way to the commentary$ The ima.es that we see are mainly of urban and rural landsca es, eo le inside or outside houses or cars, walkin., dri#in., bein. inter#iewed, erformin. etc$ These ima.es are resent as in some way illustratin. or confirmin. the narrated bio.ra hies, without corres ondin. to them in any literal way$ They ha#e only an indirect relation to the commentary$ Between these bio.ra hical se&uences there are inter#als com osed of a number and a name announcin. the next bio.ra hy o#er a black screen, accom anied by the be.innin. of the commentary for the next se&uence and the music of >ichael ?yman 'ninety/two #ariations on four bars taken from >ozart3s 9infonia @oncertante), which runs throu.h the whole film$ These inter#als are of #ariable len.th/from fi#e u to about twel#e seconds$ 9ome of the bio.ra hies are reduced to just the inter#al with a #ery short #oice/o#er commentary, or continue just a few seconds more in order to .i#e a short 4illustration7$ For exam le bio.ra hy thirty fi#e @ole Fallbird8 4Bio.ra hy subjudice endin. trial for misconduct with a minah7$ "#en in this mini/se.ment we can see the word lay in the name Fallbird, and in the un on minah 'mainate) and minor, and the attention to detail, as this is not just a throwaway little joke, but is thematically related to the rest of the film$ ; minah is a ratite, a fli.htless bird, and ratites are one of the conjectured causes or insti.ators of the 56"$ +t can be seen that 4The Falls 7 es ouses the form and con#entions of the classical documentary8 the objecti#e/soundin. commentary, the #isual 4 roofs7 or 4confirmations7, the recise indications of name, a.e, occu ation, lace and time$ +t all seems to contribute to an im ression of con#er.ence,

continuity and #erification$ But from the be.innin. we see that somethin. else is at work8 Bio.ra hy ( Crchard Falla$ Crchard Falla is a @a istan/s eakin. youn. male man$ Ee suffers from er etually achin. teeth, .ross anaemia and a marrow deficiency$ For his a.e and his condition he is hea#y$ There is no known hoto.ra h of him$$$ Crchard, more often than not, s ends his time at the beach, day or ni.ht, standin. starin. at the sea with both hands clam ed ti.htly to his lower jaw in the unlikely ho e of s&ueezin. away the toothache$ +n such a osition he stares fixedly to the southeast$ +f he had turned his .aze forty/fi#e de.rees, and stared out due east, he mi.ht ha#e faced the horizon that hid the :leyn 2eninsula of ?orth Dales, which is what he wanted to stare at$ ;s it was, he mis laced his time, his ener.y and his anxiety by starin. at the horizon that hid the coast of 2embrokeshire which was much too far to the south$ Greenaway comments that here we ha#e introduced to us many of the re eated elements of the film, includin. as well as those re#iously discussed8 The stron. #isual reference of water and the 3 athetic3 musical theme that will insinuate itself in many .uises throu.hout the ninety/two bio.ra hies and become built into the ninety/two musical ieces that introduce the bio.ra hies$ Ee .oes on to indicate8 This first bio.ra hy also contains the first and only 3real3 ima.e of a bird / a sea.ull and a dead one / and in the erson of Crchard Falla, whose first name foreshadows the Boulder Crchard, the e i/centre of e i/centres on the :leyn 2eninsula, hints that the film as a whole, like Falla, mi.ht be lookin. in the wron. direction entirely in its concern to in#esti.ate the 5iolent 6nknown "#ent$ '2eter Greenaway, The !e" Social unction of #inema, BF+, (<=()

I.". Time#image and the brain
+n his two books on cinema, Deleuze describes two states of the cinema and of its ima.es8 () the mo#ement ima.e, in which time is subordinate to mo#ement$ >o#ements take lace in a common/sense uni#erse where time is a strai.ht line, identities are fixed, and the nature of reality is a .i#en$ The action is usually re.ulated by a sensory/motor schema where the erce tion of a 'more or less) reco.nizable situation .i#es rise to determinate actions which .i#e us a chan.ed situation to ercei#e and to act on 'or in), and so on$The sensori/motor schema .uarantees the ossibility of action and the continuity of lot$ Time is resented only indirectly as concluded from 'and as already or.anizin.) mo#ement$ ,) The time/ima.e, in which the sensori/motor schema breaks down and identities become uncertain and chan.in., and time becomes a labyrinth of #irtual situations and states$ The #ery notion of a sin.le uni#ocal truth no lon.er a lies, and the narration dissol#es into a confusin. mix of conflictin. #ersions$ Time is resented directly in its #irtual labyrinthine form$ Deleuze3s The Time $mage is an in#entory of the techni&ues and styles that are used to .i#e us this direct resentation of time$ Cne ole of this time/ima.e cinema is what Deleuze calls the cinema of the brain$ Ee .i#es us se#eral characteristics of this cerebral cinema8 () the film is com osed of se arate se&uences of ima.es se arated by an 4 irrational 7 'in the mathematical sense) cut, that belon.s neither to the recedin. nor to the followin. se&uence$ ,) the se&uences are in a relation no lon.er of narrati#e continuity but of re/linka.e across the irrational cut$ There is no one sin.le narrati#e, but dis arate se&uences re/linked by #arious thematic, affecti#e and formal modes of connection$ 0) the black screen takes on an autonomous #alue and existence$

+n this cerebral cinema there is no com letely unified whole that associates the ima.es into one en.lobin. continuity, but the whole is tra#ersed by a dis ersi#e force that .i#es us one se&uence and then another and then another$ De ha#e incommensurable blocks of sound and ima.e$ >oreo#er the cut also asses between sound and ima.e inside the blocks, se aratin. them into ' artially) o#erla in. but hetero.eneous sub/blocks$ @inema, like life, becomes ex licitly an art of assembla.e, of combination, and of multi le ossibilities$ The alls corres onds recisely to this schema of the cinema of the brain$ The al habetic orderin.,the non/corres ondence of ima.e and commentary, the black screen with only a number and a name that se arates each bio.ra hical se&uence$ The inter#al takes on a #alue in its own ri.ht as an inte.ral art of the film in its relinkin. of dis arate #isual illustrations across a numeric and al habetic hiatus of #ariable len.th, sometimes continuin. for a dozen seconds, i$e$ for lon.er than se#eral of the bio.ra hic entries$ But this is a #ery formal characterisation of the film$ De need to ask8 what ha ens to the sound when it is no lon.er in a relation of domination or subordination to the #isual ima.eA Deleuze3s answer is that it becomes an act of 4fabulation7 and that it de#elo s and de loys its own owers, the owers of the false, which ermits the #isual ima.e to do the same$ The narrati#e becomes not just unreliable but an acti#ely falsifyin. narrati#e, constantly correctin. and contradictin. itself, aboundin. in exce tions and anomalies and im ossibilities$ The ima.es are no lon.er confirmin. instances that #erify a uni#ocal narration, but ser#e to 4falsify7 the commentary in the sense of a osin. a series of incommensurable fra.ments$

I.$.%ines of flight
Bodies in fli.ht do not lea#e the world behind$ +f the circumstances are ri.ht, they take the world with them J into the future$ '>assumi, (GH) De now come to the final le#el, that of the rocess of subjecti#ation or the roduction of modes of existence8 what Deleuze calls the tracin. of a line of fli.ht$ The alls is at first si.ht an in#entory of the #arious 4#ictims7 of the "#ent$ These eo le ha#e been tra#ersed by a su ra/ ersonal force, which has left their body fra.ile and deformed, erased their mother ton.ue and ut in its lace a new lan.ua.e, chan.ed their habits and #ision of the world, and left them with a series of obsessions o#er birds and fli.ht, o#er ex lanations and aranoid lots, o#er the causes, nature, and oint of ori.in of the "#ent$ For Deleuze we need reasons to belie#e in this world, and the key factor is not one of action but of rece ti#ity8 rece ti#ity to the e#ent and to its owers of becomin. and transformation, to its intensity and to the effacement of identity it im licates$ The bio.ra hies in this film describe eo le who were affected by the "#ent, whose rece ti#ity to the "#ent led to bodily chan.e and lin.uistic transformation, and to the elaboration of new modes of life$ The roblem of creati#ity and of the .ood life accordin. to Deleuze is one of tracin. a line of fli.ht$ Deleuze .i#es us a ty olo.y of three lines8 () the molar or.anised se.mented or stratified line that classifies and binds us into a fixed identity, a class, an institution, a rank or a le#el$ +t often works by binary o ositions such as richK oor, youn.Kold, teacherK u il$ ,) a su le, floatin., destratified, molecular line of anomalies and exce tions, of disturbances and disru tions of routines, of micro erce tions and fluctuatin. forces and relations between them$ Becomin./animal is ossible on this line, but is always in dan.er of creatin. a new containin. identity, of just addin. one more fixed cate.ory to the re ertoire of forced choices$ 0) the line of fli.ht, which makes a clean break with one3s identity and habits, a ru ture with one3s rescribed mode of life in fa#our of the creation of new ossibilities of existence$

The characters in the world of The alls are for the most art cau.ht in a transitional hase of becomin. that has been re/formed into a fixated mode of existence$ The intensity of the e#ent has unmade their or.anized life, their body and mind, but only artially, and they ha#e been reor.anised into new distorted forms of life$ The line of fli.ht can thus be sto ed and restratified, but e#en when it is es oused for itself it can end badly, turn into a ure line of destruction, of abolition$ +nstead of effacement of identity and abro.ation of 4truth7 we ha#e a line of sterility, death or suicide$ To trace the line of fli.ht must they acce t and reinforce an identification with a bird or is there another solutionA 9hould they try to achie#e hysical fli.ht or find an e&ui#alent to fli.ht or culti#ate a sublimated form of fli.ht such as sin.in. like a birdA De are warned by Deleuze that becomin. is not identification with a model, howe#er a#ian or aerial, as this is just substitutin. one conformism for another$ Becomin. is creatin. a co/e#olution of oursel#es and what we become8 +t is like >ozart3s birds8 +n this music there is a bird/becomin., but cau.ht in a music/ becomin. of the bird, the two formin. a sin.le becomin.$ 'Dialogues, $0) 9o not so much a becomin./bird as a bird/becomin., in#entin. a new style of life and of creati#e acti#ity$ The fi.ure of this becomin. as a way of life in the works of 2eter Greenaway is Tulse :u er, fictional alter e.o of 2eter Greenaway, and #ariously described as thief, confidence/man, trickster and ornitholo.ist$ Tulse :u er is cited on se#eral occasions durin. the film, and is also credited as 4 roduction ad#isor7$ Cne of the characters, "rhaus Fallu er, seems to be a seudonym for Tulse :u er and indirectly for Greenaway8 4+f it had been necessary, Fallu er could easily ha#e in#ented the 5iolent 6nknown "#ent7$ Ee was marked by the 4com ulsion to draw u ma s, index disaster and break chaos into ieces that he mi.ht rearran.e those ieces in a different way, erha s al habetically7$ 5eritable incarnation of the ower of the false, he is 4accused7 of 4manufacturin. fictions and deliberately confusin. identities7$ The alls then is an in#entory of the #arious ways that eo le ha#e res onded to an "#ent by resistin., es ousin. or rolon.in. the becomin.s o ened u by it$ The res onses ran.e from more or less literal imitation of a model and obsession with ori.ins and causes 'here the becomin. has rejoined the first line by reconstitutin. a set of oints of fixation, becomin./bird) to the in#ention of a new mode of life without fixed identity and the roduction of fictions 'here the becomin. has be.un to trace the third line, it has broken not just with the ast, but with the forms of the ast, bird/ becomin.)$ The irru tion of an e#ent for Deleuze is inse arable from a series of 4falls7, which are the #irtual mo#ements that com ose it$ Eow these falls as intensi#e realities are incarnated in extensi#e s ace de ends on us$ The #irtual fall can corres ond just as much to a rise in s ace as to a fall8 The intensi#e fall can thus coincide with a s atial descent, but also with a rise$$$ +t can coincide with a diminution, but e&ually with an au.mentation$ +n short, e#erythin. that de#elo s is a fall$ 'Francis Bacon, $=,) "#erythin. that de#elo s, e#erythin. that becomes, is a fall$ De can im rison those falls inside re/ .i#en models and fixed identities or we can use their otential ener.y to em ower us to belie#e in the ossibilities of our becomin.s, to choose our way of life and create our style$ Greenaway3s film erfectly ex resses and exem lifies this ost/modern, ost/identity ethic, affirmin. in both form and content the ower of The alls$

Bibliogra h&
Buchanan, +an$ 4+s a 9chizoanalysis of @inema 2ossibleA7 in Afterimages of %illes Deleuze&s ilm Philosoph', "d$ D$?$ Bodowick$ >innea olis, 6ni#ersity of >innesota 2ress, ,G(G$ >arks, :aura 6$ 49i.ns of the Time Deleuze, 2ierce, and the Documentary +ma.e7 in The (rain is

the Screen) Deleuze and the Philosoph' of #inema, "d$ Gre.ory Flaxman$ >innea olis, 6ni#ersity of >innesota 2ress, ,GGG$ >assumi, Brian$ A *ser&s %uide to #apitalism and Schizophrenia, >assachusetts +nstitute of Technolo.y, (<<,$ Deleuze, Gilles, rancis (acon) the logic of sensation, translated by Daniel D$ 9mith, @ontinuum, :ondon/?ew Lork, ,GG1$ Deleuze, Gilles and 2arent, @laire$ Dialogues, translated by Eu.h Tomlinson and Barbara Eabberjam, The ;thlone 2ress, :ondon, (<=M$

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Auteur
Terence Blake Terence B:;P", a.ré.é d3an.lais et di lQmé en hiloso hie 'B$;$ First @lass Eonours, 6ni#ersity of 9ydneyF D"; 2aris ( J 2anthéon), ensei.ne au lycée :éonard de 5inci * ;ntibes$ +l inter#ient é.alement en @lasses 2ré aratoires au :ycée >asséna et en >aster , 9ciences 2oliti&ues * la faculté de Droit, * ?ice$ 9es recherches ortent sur la construction de asserelles entre la hiloso hie analyti&ue an.lo hone et la hiloso hie continentale$