174. Delouze and the Contemporary World ce ly sel ba facie of mince Tee tem Spd i A Eason Past Senco ee Sa (Bot ors ae ac cm cote ha Imad a Chapter 10 Arresting the Flux of Images and Sounds: Free Indirect Discourse and the Dialectics of Political Cinema Beare the tentessoaticy Werte ses Rea Se Gating, wan. pres, 2006 ) Potricia Pistors In onder to aves the issue of contemporary poll cinema I will propose that contemporary cinema shold be conceive ya Specht tn fre indiec couse I wil depart ftom Deleuze observation that inthe me image the whole of cinema comes 3 elie discourse, ‘erating in ety (Deleue 1989 155) Br wil also propose a mnee polemical reading of Deleu’s cinema books, aeging that there i @ Ulestcal shite Berween the movement image andthe Hinesnage, 0 beeweon Fist Second and Thiel Cinema Cinema and the Masses A Wier Renjamin wrote in “The Wok of Artin the Age oF Mechanical Reprnacsin ln, cause of its mechanical reproduction and therefore ‘terelation tothe mse, andarnently related to polis (Benjaia 13893) When Benjamin wrote this atl, wo ain pital erences ‘were dominant. Oa the onc hand, fas wid cinema to give he people Sfelingf song and bes orn of aranythologation of the eset, ‘wile at che same preserving property flaons and power structs, Foci rendered policy sete" Communi, othe othe had, Benjamin argued, responded by policing an. Eisenstein’ Rossan reve aon nike Poem (925) and October (1928) Benjamin consid te examples of sch pitied art rom tis one can coal tha, in away nema isalways poll citheritmakesthe mance "ae minded? ain ce, oF can be se {weapon in the emancipation of the people in ee commas tad fon. Aldhough in contemporary audiovisual culture 8 mo Jonge pos Sle to make thee pponional dinncions wll come o dha ter) Till take the commune approach of cinema as pole weapon for the emancipation of the mates staring pit for my dscseion of176 Deleuze ond the Contemporary World pica Slim. Ta ehe 19605 thi frm of cinema was named “Third Cinema. Let me fist map out bey the concepe of Third Cinema, before ooking at Dleuae's servations about di typeof cena which hecalls "he moder poli fim ‘Third Cinema and the People ln the 1960s, inthe wake of independence raggles and movements of decolonisation al ver the world, a new type of poston cinema emerged, In a manifesto from 1868, Fernando Solanas and Octavio Geno called thi type of cinema “Thi Cinema’. Filmmakers in Argentina themseles, Slanas and Getting argued fora micane type tof einema to decolniv culture from the former olin. "We have to fim with «camera inone had anda voc inthe other’ they srote (Solanay and Getsino 2000: 278), Third Cinema refers othe minority polite pstion ofthe third word asi iexpivtly addressed in these Fins, But chey also coined the term an aesthetic opposition to what they call Fist Cinema Holy wood) and Second Cinema (European Art nea Trust Cinema is Hollywood genre cinema, what Deleuze calls he sction-inema of the meverentimage’ in which the action is followed through ane or wo central characters that met challenge hati over one inthe course ofthe actions (Deleuze 1986 141-77), Proeaponist of Fuse Cinema fms ind themselves caught i at kaso des one oma ‘scand on ther type of del ike» pial stragl with che mile, o 4 pola duel with opponents, ofa psychological del witha hostile {anil ands0 oa Second Cinema auteur cncia fen an osaeratc reworking of casscal pnts, sometimes with non-professional ators Hee there mote atetin othe socal Tes frcnate but he ors ae ako wnivenal,elling abo the haman condsion is ganesl The seamless montage (continuity edn) of he action image ha become “montage ofthe lang ake and dep staging ore ow provides ieaional as that makes ifculet dings between he steal 2nd be vars This type of inna is broadly categorise by Deleuze x moder cinema ofthe ine age (Deleaze 1999) In is book Political ie Mike Wye {ves several characrerisi for Thnd Cine Wye 2001) sa cinema that considers hitory asa Marxist dete proces of change and gon tendon. The raising of politcal conscious lo very portant ‘There i always a eal engagenen with the minority poston. And Snaly Thi Cinema aleays speaks from a positon witha the clare speaks for ils now regarded s Thi Cinema are discussed by Deleaze Arresting th Fux of images andl Sounds 177 a timemages, which he distinguisbe from clascal poll lm (Dalene 1985: 215-24) Wayne doesnot refer to the emancipation of he peopl’ but cleacy thi se adressen many of the eaelyThtd Cine film. We find the hopes of Che Guevara foe a united South Arseie forthe peopl the flins of Solanas and Getins in Eaypt, Yosef Chahine det he fim Stain 1963) 10 commemorate Naser atknalisation of th Sues Canals Asia, the libecation erage of the FIN selected ining ofthe ls prsaced right after indepeadence, ike The Bate of Alters {1967 and in Africa the hopes of new nations find thet pall the ‘epansation of Aca lm asoiaions and fetal al ts ary Third Cinema expressions, the dea ofthe poop" as united force that ‘an be represented and aden isvry song {he People are Missing’ and Ciacma as Spcch-A Imagined ut this expectation ofa new people would not lat ery lng The il tay jute tha aos i seer hed wold counts he dsane ton periods the Sx Day Wa, and many dt an detatnal soe ‘gins in the new nations oon caused ing of pound Sseption througout she thied-word Chinas pers an migton flee the peopl il apart. So Thid Cinema in act, vr ted te be Bose on this contion ofthe bac of te pple As Dees sy i Te Tmemageithr eres mop ee be this ass the people no Tanger exo not ye the pole ‘sing (Deere 1988-2161 me 1 las poliial cinema, sch a Eerste’ ls or the ec ‘hid Cinema fms dhe people evs they can be repented ad sires In the modern ltl fn ofthe sme howe oe rropl ate musing fis no linge posto res of adic the People. As Deere ages he satu of fn changed ns bene Specht tat act upon rely, that lp the poole wo “Bevo to invent hemselen the ones haar eng ts Neches «op a The spect man eral sfc age Se fips pels mane ane eng oe Seton ss [thd wed cows hasta’ ane ‘sea whch bn rl prin tope'n ttn ee Foc clan meine pparin o epae whee178 Deleuze and the Contemporary Wot ‘Theda of pec actin cinema tht cm rode peopl! might Be compared in sme tne to Bend Anton’ eto he nage commaniy Relkcting one ng of na, Anderson ages that the ation san magne poll community that was made pa We byw forms of aging tha ere gnc in Earoe fa the ihc eur: hen sd the newapaper (Anderson 1983 23). The novel ol thenewspaper made pow for huge pst people who donorknow cach co sbre hte ‘locke, senda ive {Rare eas "horogencows empry tine). Andenon Maas fs point by relia ta noely Blas, ich presen see cares that do st know cach ter ad yet re embedded inthe ee sey. Artes tine thee characters arc ened nt mins he serrate who nw can gine the world sn» share referee ‘Wh Ander lisa of he ato, he ako ako that infact al communi ager than poral villages of cece ntact (nd perhae cen hes) ae inane Commas ae to Be disingished no yt ayeninene, but bythe sj in which they are iain? (Anderson 19836 s : allowing Aeron gif pepl a ‘inane comunity ic is plavibl o ag that chur the twetth nd twenty Be ‘eras mea of esting magne communes Howevee th poss 4 eel for the disintn Dalene makes beonen the way the Pee ec da rs hones od tothe way the people ae ingpned and inetd nthe te ag. ft Delon hil ives some examples of pecans ena {Deter 1989-235) Poly the dscns been thee type of nage n eget otc poten are otha ey ae Ie en his pone Asindicaed by Andevson, style (nlm and erature) an be considered a Uisintve characteristic of diferent types of commanty. So perhaps thedfernce between the two yp of politcal cinema can be sesed in mates of se A classical style of the moverent-mage moves bree two pole: he "sujet diet presentation of the events through the Point of view ofa character andthe ‘objec’ finde presentation of theevents through ehecamera froma mare diva point of view 9 The “Movement-mage Delcuse argues that te final goal ofthe cinema st reach a more difse and supple staan tha cul be characterised 36 sem-sbjecuveorfreindiet The fe indies etylesactoally te bas Arresting the Flux of images and Sounds 179 of cinematographic perception, but cinema had 1 go through low ‘volaton before atining self-onsconsnes (Deleuze 1986: 72-5, With he advent othe cnesimage afer World War I in the mers Political fl after colonial independence stg, fee tne die ‘course becomes the dominant tle re indecr discourse term dvived from Rasim inguiticy. Te ‘fers tose of reporingin which the reporter and the ported fae together Ina diese the difernce haben pote atl the epoted Inscrator and character) is cleat An example won be “My fate ney ‘ook iy hand and sis "Do notge involved in policy" Ina fe nd ‘et sylethisentece would sho ot et inoled in polite Fee indie dsurse creates the impression te naar in supeeded by hit shacatr As John Marks ints, aber developed this conepion| of language aa terry technique (Marks 1998: 106). Kes a5 thous Flaber is ceased to speak sad Made Bovay bas begun to peor hers, Whete the author was, thee the chcicer and inthe hese worked insane, f which Hauber icky an eagle the athoc de appeatsintotheiechraces na proceso double boing, Tica uty ofthe status of the lngisie wteranct, somewhere betwect he ‘acator and the characte, alo cent Yo dessa freer Ahiscouse inne, Fee indir digoarsein cinema was therised nally by Pasolini bin 1965 speech Cinema of Poetey” (Pasolini 1988) fst pret wring this esa Pasolini had made IT Vangeo Secondo Mates donne the ‘aking his film che question he had o ask himself ws he lowing how cou i, sam atheist Marsist ake fl abo Christ hh the eyes of reigns person? As Deleue explains, soli discovered how to go heyond the to clement ofthe traditional soy the objective inet sory from the cameras pont of view an the subjective dct story from the character point of view, by the form of fee est ddacoure nse cinema poy the diction etn wha the hacer saw sb instead wha ee camera saw objec anid ein aor ome ‘thea, burbcasethe cars ame ance prey said ‘nine isn which xtered ine alan of sation it cls ‘ters way of sng. The author tlasa sep towards hacharseers oe the charter ae» sep marche sor dole besoin aoe Lien tingisics the elationship beween the one who isting the arate camera) and whats being stdin the image the chat)180_Oseuze andthe Conerporary Word ‘sather ambiguus i unlar mre one ein nde ake Pain hime ver the expe of Anata It Dero Raves (1964) in which dhe nero expereneo the word of the ain sha. sete Minds wih he snematgrphic se ofthe deco ually Enignus theron eewesn ton ad elie As Dee a rin Wa Paap ent a “rented plane of competion ning countrys bee he trogen canes of characters cent een graphic ahd Camera eye" Deear and Guta 1994: 18] Obetne ae insta andftion te into, As Deere cats We Shou ae onger ak abun acngna of tata oft ho cen {Belave 1999515 fe td dcoune the aera make sl fe cough sae cigs ike obec raming vooming, the chwociaon of age and sun aT wil dmontate he next ‘ston As Deeure pons ot Weare cautinacoltion eewcen 1 pcp nage and camer eon wich sonnet ce “petion of knowing wheter the ingen objesine ot sb to lanes rahe (Dee 1986: 7) A Ta flrs, Deke apes tha, wth he tmesimag, the whol of cnc bes fe act Gacoune indesign umn tested fd omen a ays sn i ws sane mene seo neff) lems Renmin dca ope ey, ios What does this dominance of the ime-image and fce ides de course mean for contemporary poiicl nema? Aesthetics of ree Inditeet Discourse i the Time-Image ln The Skin of Flo, Lana Marks (2000) analyses range of modern polical ils that belong tothe category of Third Cinema which she Felts to as intercultural cinema’) and are cleatly time images in a Deleuian sense. One of these ls is Loman, Death of Prophet {1992} made by Raoul Peck. Pare Lasnumiba was the fist eader and Prime miner of independent Congo in 1960. ut he was soon d= mised by President Kasi-Vubw and in 196, with the comply of the US, he was murdered. General Mobut then tok power The sit ‘umstances of Lmumbs's death (and he ivolvements of Blam and Arcstng the Fux of mages ond Sounds 18) ‘he United States whe considered him a dangerous communi have teen fused up fora Tong time. With this fm Teck gives a wie to Temata Telling story in fee indicet discos is posible through sever ae thetic techniques. One way 10 make subjective and obese, fiona realy, pat and present more ambiguows x by daconneting sound an "mage. A yi tls us something, and athe same me we se some thse fn his way the vice dis up layers ofthe pase or aks aspect the furore shat cannoc he seen diet. This srtegy is widely tad in Lamonb: we see images of Brel, while in voice-over Psk cl the story of Lumumba. By using image snd sound sutonomoush fore ‘oomously’ as Deleuze cal) image and und sat speak cach lather and nee each othe Lumumba’ ghonehecomes vise in Brases n 1992. The past speaks inthe present in fice net wy, wither completly subjective thee ise» charter inthe fm wwe Point af view we follow) nor completely objctie[the voce of hel ‘maker is cleanly presen commenting is personal Wa) ‘Av filmer Peck moreover ats o Lunt a free indiect way. The lm also Pecks story. Ath beginning of the 1960s Pecks family moved from Hat to Congo to help build the county, His mother wassecctary ofthe goverament fr several year. By sng both home movies and news footage, Peck nse offial history with ts oficial history ina fre indivet discourse, In one scene we see Super 8 hate movie mages of Pecks ater, whois. few boys inthe warden oftheir house. Peck’ voice-over then tells us "My lather ty, his new camera, He has fund some actors. Among them a ature pte, analyst a tuck driver a lawyer, to businessmen a lm ad tual nse.” Here the voice takes the images ofthe past to te fare We alu scePock's mothe looking a er ciliens And when Pec els los "My mute says. the images switch o apace of Linnie ‘withthe Belgian king, Boudoin ard President Kata Vabu, Mesh eck consinues, ‘that Lumambs was damised by the ume he hata ial Oficial histovil images ate alternated with home movies al oes shout che poll stuation hy his muther Image and sound, nance and his character (Lumumba) ofeil an unaficalhstory, now cane together ina fee and inde way. The ia perfect earl of what Deleuze ells modern politcal i fee mesma" becuse pe sents simulaneounl serra layers of ome aad antiga speech, fm act of fabulation tat helps to invet the history of) 4 people also peal Third Cinema fl in dae deals withthe ontradevons182 Deleuze and the Contemporary World and confi of history, aims a the sing of pial consciousness, lel takes 2 minonty spective sed speaks (sony) Kon wn Congolese clare Reality and Fietion: A Pree Indirect Relation And yee eck felt the need eo retell he story lifer in & mor las cal ea. He preiely fel this eo inorder to sake Lummis ory he Story of the people of Zane, sccesibl toa larger aun, an soe {haris necessary inorder to consroctan imagine community 200, therefore, he made a Fist Cinema version of those eves a8 poll Chiles, Lumera Nove ween with the story ny thragh the ees ‘of Lumumba, played by Eig Hhouaney: And parallel othe poll sry, ‘we also wines Lumumba amily if, and is elaonship with hi we And kid whom he as eve behind The scene js decethed no ooks| ‘ery diferent. When Kasa abe dhises Lamm the Iter sins tfc at home. He gets the message of his real through the radio Inmednly he leaves the house ling hi pregnant wily hoi ing the unde, thae hes going to palament, Thre he tres to dss Kase abun sar, But he no ngs the spp of te ary which hasbeen paid off with Amenca dollars tthe ne scene he pt andr ae by [General Mabora ‘Aesthetallh in dhe ciaeaeographic language we have an alkenaion| Ierween dec discourse nerve images from the pot of view of [Eamahs) and inet dcous bjstieimayes where the camera aca dance and shows wha happens to Lumumba), Howeve, I would lke to ange tae fe indie discourse has become eportant fr thie typeof Hollywood gente cinema ay wel. So aking Dele argument hatte imagen ae fre indirect dscourses that operat in ealty ane sep funher, nr only tme-ns, but als contemporary movement nase lke Fist Cinema Ris, have to be comer fe indict dacoure, 28 speech that operate in eat. Asthesally thse igen might follow classic pth, bis ters of thee conten, Fst Cinema ely teats Sion and realy in a reine way. OF php ts posse to say that now that wih the time image sien hae bscome el onsius, this ako affects contemporary movements. Lately ‘her fromthe ging, e nde dscourse ak ero degre’ of the pr «epton image takes is fll etn contemporary cinema." Consetly owe have wo accep that movementamages are also specs that 2 "pon reat and as uch re portant for he conitiion o's people eis no loager che pepe of he time image. As demonstrated shove, Aseting he Flux of krages and Sounds 183 this to was pare of cinsmatopraphic power fom the hepnnng, bu comes more evident in contenprary cnc. Dialectics of Contemporary Political Cinema But we hae wo acknowledge tht there are clay differenes between the various types of cinema and thee polite! perspectives In onder to ‘analyse thete perspectives and see ow the fee an indie cations hrween ety and ftion ae colored, we should consider the relations ‘etween movementmage and time-inage, no oly in clear opposition to cach ote, bina dialectical way. Here t conc wih Mike Wayne who has proposed dialects beeween Fist, Second and Third ince which I would like translate in a Delewian perpetine, Conecting Deleuze to any kindof lets might not apes sopcal step co mie ‘As lun Buchanan points out in Dele, thas become a aso of Delewee and Guatari sais say that heya ant alectical Dee ad Gana ee stop sping hat hey at antl ‘indof moma with he Bat neg slong hem on hs we dou stra pofsunddoserrc, ites, heaute we recone othe mon ‘tev ol we ve for oblsing sir wok towns pst pola ‘sd onsen falta ints paragon deen tthe diva kind, More mponasty i aeume that ere ely one iad fsa, which pty the cae, wal ape whole ‘eared with anyone that i ht Deu aed Gast app ns sot tal ie mean sys bt wuld cage sel towed iene storing” wich yet tie ans ti he prensa even fom la mies mes fa {ds Jameson has amply demonstrated on emp of dake det ‘oti othr aca 200 4 ‘As Buchanan demonstrates, Bleue nd Guta in sei eons: ion of concepts never erase 10 sf 10 specie storia contests, lanes of immanence thar Function as perspestves on a parc problem. Another and related dakescal characters in the work of Delewe atl Guat that her eonerpes ace aay constuced fm concrete material eal. As Buchanan anus ins deel bet itarsempts to think the ground at grounds which to ay te pops Sonica and a the same dine conepalze that ground something, Plhlosopiers construct by fa the very aatithese of 2 ground) and Inypose onthe word 9 new way of framing i (Bechanat 2000: 37), Afra diesel characteristic tae is important in eect adil ‘al reading of contemporary poital cinema so recognise hatin184 Deleuze ond he Contemporary World Arreting he Fx of Imoges ond Sounds 185 Marais spiny the past isnot something that prevents the future, but rather provides he iling Bock forthe tronformation ofthe present suo the Fare As Fredric Jameson indicates inhi aris “Maris and Duals in Deleue” (1997), in an axiomatic word might even become mote ‘mportan ro consider Deleazein a daacs wy les weal oseal that in A Thousand Plateaus Delewe and Guat neaton four exomstic Axes the fox of enema the fx af popaaton, the of ood Products and the fax ofthe urban (Delewe and Gusta 198: 458). would ike to ad nother fla, although tha ould be consid as past ofthe energy-matter us, namely the hx of avi images Te $a ls that bovomes increasing complex. Axioms ae operational thy are at of rales putin fet Jameson discusses the mostimporant axiom, capitalism, which ways sumo is comtadction by adding new aon. And, Jameson as There ‘an be no eeu ro any sinplerasomatic or purr lon of eapitalisns ‘only the ation of evr more rules and qualifications (Jameson 197, 39). By same token, we canor go backwards aesthecal ether is 00 longer poset have pure forms of the moverentaage (it Cinta} ‘or the tme-inage (Second and Thid Ciena In enema to, ae ae, influences and quliicatons are conseanly Being aed 3 the mea pushes up aint seemingly inirmuntle aesthetic limit, only to di. oer ew techniques, ne echaaogs ew ways of ling sores, has revving the aesthetic once more. And wecnnot scpe aera dalam to ialetics between the deren eyes of mags. Jameson pus even more stongly when (speaking aboor the duals between sate ard nomads in Deleuze and Guar work) be argues tha A] evan vals migh be the pretext and the exsasion of he vey “oveecmning™ ‘of Deleusian thought tl andthe dali ansfrmation int some thing ese (meson 1997: 414). He ads tha perhaps the best way 10 read the opposition berseen the nomads ad the sae isto sei a8 “rewentrilzaton by way of the archaic sos the distant thane, in the age of axiomatic and slbal epee, of the eur of the myth and thecal for opin wansiguracon (Jmneson 1997. 14), Poli cinema as wlan mission nthe invention of a people and ic operates sometimes by retertoilisntion and deterioalsations beeen Firs, Second and Third Cinemas, ot between movement images an timesmages. Here iis importa to note that Deetzehinsel con sidered clssial cinema of she movement nag in self a 4 form a Hegcan (hoe Mares let thinking, lstaing hi pie with the alta eonrage of Ekemecin he argues The cetatoshipsbewee cinema a thought ae encounter gether everywhere inthe ema of the move mage te relatasip hg tele wich ca only be thought na higher aaron, the lech et thong whieh anon be bapa he saosin wong of ‘mage the ensory moter relatanship baton worl endo, eee ‘hgh (Deke 1999.16) The modern cinema of the dineimage develops new elations with thought which Delezecharsietses a the oteracion ofa organic} who oof rtalsing of images lyse ‘monte fvour of an ote whch ered tween thet thins sunstmnonabe nepal, andi impossie ecm ensure the cast ofthe ner oma whose tae favour aa enc sous and inthe esa ofthe ay a a nd he workin favour ofa tres which mow ene with only» a inhi woe (Dene 1991138), ‘The resoration ofa bi in chi word i what has become the ask of ‘modeen filmmakers ~ and this is what cxteal thinking impli nih ‘espettocinenatgraphiemodeenit (and which could he called islet ican Marss sense): Nowsiny point ie that wha ie witness today in contemporary cinema's the fusion or sythesis of Pleyel sd ‘Marxist lets, but tha cher are dilstical movements mot beeween movementimagesand teins that nunc ach ote By !malysing the presse dace movement becomes posable oa ‘sh the varios politcal perpetives on material oy, femurs, nol polit prspecives are equal o eualypowefal and efeceve and we ned tol ose in which nay xsl the dae is berween een types of einen work By considering tn spec acthac operates dees dcounein reli, Wee stat enpetang fhe poll dimensions ofa vacey of perspectives. Ant bacon pos silt deine a new ethics of the image that cs to map the diferent Speaking positons/perspectives, an the ways in whish these peng Pesitions colour the relationship between fio and ely. Comseduen ‘we dont nesssnly need avne-smage or even 1 Thied Cine Hn skscover the snorty perspective necessary or poll inthe com ‘munis tradition. And vc Yes, no all Fie Cinema fl propos absent mindedness ofthe people, evn though history fe moveneon, image gave way cote time-image because ofthe fast mine cl calcines Deleue 1989.24), eis impossible ogivea simple code or moe of analysis that a be ‘ppt each film ina snsar way. Although we have seme concep120 ond the Contemporary Wesld tools like the movemencinags, the dane inage ad categories of First, Second and Third ines, the dymamics or dace betwen al thee semen craps changes is important odnentange both the vital: ite within che image the past, present the four] and he Forces bend the image the money flows, who made or supported the image In oder {opt thesechoghts eo work [want wo conclade with few exarplesof| contemporary films tha propose dialectical ansoumatins of pais ‘The Interpreter: First and Thied Cinema Undoabeedy, he Interpreter Polak 2005} an example par exelence of work of Fise Cinema. A big badger Hollywood Fl, pit! Cheer (with ee direc interest im pols), with big sas ~ Nicole Kidman and Sean Pena in leading roles ~it mets al he clase crite of the ope. Kilman pays an interpretrtransltor forthe United Nations ‘who overhears pans forthe murder of President Zuo che Ftinal ‘Aincan country, Matobo. Sean Pens isa ecity officer signed to protect bee Mach ofthe fm is shoe as am acton-inage around tht murder plan, with the obligatory pall subplor centred on the rel HoshipbesweeaKidrion and Penn, Pre ctetainment, nde. And yet it would hero easy to dismiss the fl 3 2 nonpoliecal fin on these ‘rounds alone. Two elements relate The fntrpretr to Thi Cine Practice. int of al Sylvia Broome, the Kian charac, a white ‘African, born and raised in Matoboy whos ie has ben profoundly and personally tected by the cv war She lst her pares and se i 4 Tandmineacident she est wa involved in protest movements aad Kil boy ine deence fer thi she decided to drop the espns nd work aan interpreter forte United Nations, So she sean ‘ent tours who jst happens to bein the wrong. pace a the wrong, ‘moment There i ertea engagement with the minority perspective ‘he Sslva Broome in thes arate aera of UN diploma ‘Secondly the fil refers tothe historical poll sivaton in many Accan countries, withourtepresiting one particular county. The Afvcan country is called Matos the president, who fom ibertor ‘ume sto a dts icaled Edmund Zawans Zan beaks rex tance to his pois by labeling i"eeorsn al he gets support the ‘West fr dong so. Ie is 2 Seetious county, a Bcitowspreadenty d Kidman speaks Matoban, a fetious language developed expecially for the fm. Bur it noe difeule to rcogrine Figures like Mbit (Cong(Zaire), Mugabe (Zimbabwe) or other Anca dictators and Arresting the Flux of mages ond Sounds 187 tsi eacons eo Western governenes who offen supported them. So in this way poll history reered to By what Georg Lc ae called “pial. According Lukes pay is the conergence an imterctos ofall. the moatinporat sos polit ich oral and pial entation fa tines Through the ecton ‘fa type ap the dicey of typ chaser nd pe ston the tot nian eto of seal evlopmnt ata dua asi ‘apreson (Lk cel Wayne 3008 fe) “ypicaly is one of the key ways of policing nacative ia Thi Cinema!" Alo the Kidman character, interpeter for the United ‘avons, can becomsidered atypical Traghou che flim numerous tl erences are made tothe pression ofntrpreter Kian poopagaes he LUNidelofeansntionaldogue. The las that Spey Pollack we por mision frm Koi Annan eof fe the Fst ete evr) i the actual United Nations bling, doesn come as a surprise Ta many ws the Polis of his film isa, unhreatening to she dominant orden and not likly co ras the eyebrows of suspicintspowerbrokers. Yui alo the cae that concealed behind the approved exterior there lrks a ral potential fora tanlacon of ame’ Fist Cinema int highly plied Third Cinema. In bis esay “The Task of the Trnuator” (19996), ‘Benjamin argue that fora god teslation the imerpeter has let languages invence each osher mutually Here tthe elation keween| polal discourses that isa stake. The languages move toward cach thes and there certain ambiguity erwen thelial sd he fee imverprettion of the words. Thc mari influencing of Langa, and all the eultral connotations that belong toi shematsd i The Interpreter. Ths happens boc tthe lvl of he profession ofthe rans lator and’ on a higher level of ransntional inflacacs in lobulised ‘word snbolsed inthe United Nations, Viva Laldjerie: Second and Third Cinema Vina Laldjeie (Nadie Mokniche 2008) is chassteritic example of Sccond Cinema. Distributed in the Aw House Circ tlle he sory (based on a eal seuatioa of mother and daughter who live ina hotel room in contemporary Algeria. The lm belongs to the category of Second Cinema because onthe one hand story hn to inthe face fal and dec manner of Hollywood my, a on the other hand the Istoicl and pola references are indies. eaefl to elude ven the ub of typical characters and allegorical references that might1188 _Dolevzo and the Contemporary Werld Poin tothe (cent politi siuaton in Algeria, The focus i othe Felationship Rween the characters an oa the more general hora condo, ‘And yet, View Laldjerie a polca fl,tsThied Cinema character ics ar, however, quite subi. Ae begining and en ofthe, we are presented wil mages of crowd walking nthe set of Airs a5 ithe dvctoe wanted frames tional sory ofthe women in fee and inst way eo thee pple of Algiers: The women ate hot ep Scatativeot Algerian women tsa. Inded fe the sree the film ‘tthe International Film Festival n Roserdamy he director was hevily ‘rtcsed for that. But, as have aleeady argued spective cinema fof the old-fashioned politcal type i alongs possible in the modern pelican: the people ae mis’. As sch the expectation tha the ‘women shouldbe epresenaive' i isplacel od polically dating Ichas become inpossbleto represent he multiply and fragmentation ‘of people asthe people The ie ofthe fl, "Viva Las’ cect lessor only refers to the slogan shouted a foetal games tao rls thar clas eevoluion Kin The Rate of Algiers where ‘Viva Ageia ‘shouted in the demonstrations agains he French The politcal danesson tht the director get actos with thi oi the fact that these women cotine olive, despite the waumatc expe ences ofthe cit war inthe 199, eich haved profound wounde fn Ageia soci The Fi i fiction ad aso be ae speach act thar refers eo Algerian socey in a fee and sect way. By refsing to represent people or ation, the fm comtibues to the tet of 2 people that becoming eliavening sel, by opening «space, what Delewrecllsa plane of imasence for hat mporant pla ans fomation wo oscue Ir was precisely thi plane of immense” that uring the vivax, when twas dangerous and even mpl to make fins or images of any kind, was lacking” Algerians had the lng of ing completely forgoren by the et ofthe rl as if they not «exist Now mags, and imaginary community sem to e-em But to single lm eam eae the “burden of representation” (all 1996), As Delee sys The puch has snr hese by ite, plans the clemens of people to comes th fe ind cout of Ast aoa lesbo ‘merc abo Pari Ava ener ul thd word cna a ths through tance ot eri, to comssate an asomblage whch ring rel rts tote order ae the prac colleen te refigration ofthe people whe are ming ana Kke see can do omar (Dele 199-2324) Acrostng the Fix of Inages ond Sounds 189 Tangier le Reve des Brileurs (Tangier, the Burners* Dream) “Thied and First Cinema Leila ila ln Tae the Burners” Dream (2002) a contempor- ary Third Cinema il that i showa at smaller festivals but dows ot ‘et epulardsebution oa the big secens. Ina Dele sees “rue moder politcal Slmin which the filmmaker who creates eat {ul images) ad her characters (wo communis of leg refugees in “Tangier who tll thi sors, their dream of cron the ocean) find eachother ina fee niet dscousse. The characters are often lined 2 night or dawn, famed by the intense colours a the city of Tangier ‘or aguas the backgrounds of theses othe hacbous, Sometimes het ‘oices ar in voice-over and sometimes they are embodied. When we hear thei voices in vizeover they te shawi in the iage a hou ‘te, as distant Figures oF We ust Sc the hore, the Spanish coast on the other side of the ocean. These images and sounds ae tely poetic and the way the images ate alternated with the conerete bodies ad ‘Sores is very powerfl beau this tune the personal store alo into larger sory about marginale, The characters ase leary comfortable withthe camer: chey choose what chey tel they deve what eh ln maker will show inthe end Aea Third Cinna fi refers othe com temporary political stvarion of the sloure of Europes bordey i presents the perspecieof dhe "barnes who ge time al pace ell ‘histories and dreams, andi is tld ao with the call know ledge of Tangier, which isthe home town ofthe director. ut atthe sme tne the im i also sort of Nestea the burners contin to Survive becuse, Hee cowhoys they want conquer the Fonte “ven if they would built a fence uni he sky, we would find ways to climb oven one of the burers says.” This Western clement is present not ‘only in theie stories but is aso emphassed in the mise-scene in twhich the horde ak indiated above ean importa lent In some Fnsances, the images are also full of suspen. In several stoi Tor instance of howto get across by hing und tucks oe in dtbins, the close-ups of tracks, cas and whecls, commbined with appropriate ‘music make our hears beat faster And or perception of car ‘hanged remember how Hitchcock changed ou perception of bi Here we have Fes Cinema elements it Thi Cinema film A i precily tis ialecccal reversal hat provides he dtc exisnceof| these people with anosher, more heroic dimension through whith We «an view thei ves, allowing them abo to see themscles in moee Shani light190. Deleuze ond the Contemporary World _Arrotng tho Flux of lnoges ond Sounds 191 Conclusions “The sigiicance of free inirec dicount pol cinena should be understood on tvee lel Fist fal is portant to see that, com trary tthe esse with casical olitial lm thas bosom impossible to represent a people. This peas seems obvious, but foe many Hi makers, especial Thid World filmmakers, or minority Flames in the Wes stl very fel shake off the burden ofrepeesent toa’ But from Deleuze we lar tht inthe modern poll inthe relasonship berwen filmmakers and thei characters fre indect ‘one, And plica ln have ta he considered as fabulations and speech ‘cs that contrite tthe invention ofa peoples they are no reps {age of anette peopl or nation), Sond, aot only time mage but alo contenporary movement images have ro be considered a fice indice dscoures tha operate in realy, The elation between the fla and weality i often ambypaor [and in any case never det) eis useful to analyse te diletial shifs hetweea Fis, Second and Thied Cinema cements onder to understand some of he political dimensions of the diferene perspectives. es neces Sary to tke both elements with the ns, ab well 5 ores behind he Fins, ito secoust Abd instead of asking sti a re representation? ‘we sho asks who wants this o be teue, wha inerest are at stake? OF ‘ours the power tltons between all the diferent agents in Fit, Second and Third Cinema ae not eal ~ but ster ae they xed. And ‘the minor poston can ind expesio in unexpected places “Thidy in globalse, transnational wos, money, goods, people and imagestriel ateverinteasing speeds and in greater guseies. This ake ncesry to chink the invention fs peopl’ ihe becoming of 2 peopl) both on snasonal and transnational evento lms, ‘accented ms fms tha dea with migeation exp tefer to his. But ‘Sto, mote dtc "national cinemas acknowledge thatthe people to ‘ome will beconsructed ou of many differen stores, Ina hee storie the rltionsip between the Wet and eter pats of the work 2 comple and re indirect ne. In varying alc dynamics hee rl tins thar stared, amongst exer, wah colonialism, always crystalise leroy inzeasingly complex wansaaional networks. Dele eonepe ofthe shizome and thizomsti thinking sone that docs justo this complex. A saplementary and perhaps moe visual metaphor could beaded he geomet Spr ofthe rea. Like the thizome this isnorjusta metaphor, bt alsa concrete pattern and mate ia eal Aujn Appadues peopones to eke the fatal 3b 2 Bure of ‘hough far hiking the complexity of ansnatonal curl formations (Appadura 196: 46). oder eo undead the whirl lepiity ‘of contemporary cultural formations, classi) ome fon ike ‘clr and squares with fixed mestcts and oppostionl sie are no Tongeradequite (or only ia absencions. Fractal arene oomtical figures thar canbe called only by computer They are figures mendes “tection wth dferena A deta ofthe igre presents the sae shapes the complete Bure, choogh it isnot neti ental. Mont inpor ‘amily cal formula: create unpedcable ut aoe arbiary efx, The lice indvact eatin between people and image, between tet and fcsion, canbe imagined 3s 4 ral Tormala wih expicions, unpre liable, bu oc aba dyna “And flmakers produce with thir fils fatal imaginary land seapes, They produce speech that nluene reality: In The Work of [Ar in the Age of Mechanical Reproduction’, Walter Benjani som: pared she llamaker witha camera to dhe surgeon with cape. Like fhe surgeon who cas dee into the pain’ boxy, he filmmaker pene teats operates i) reality flesh, As we know, every operation volves risks. The instrument can he wrong (a rife that too Plant the remedy can be worse dan the dines, or unespte sie fet ca ‘xc A of which poins to the importance of making good, elective iagnoses to hegn wth, so tha the complenty of contemporary clare tnd politics isnot rede toa lash of civistons, but the complex “dynamics erween many diferent (heres andcolored persestvs become visible References desi SN ed Conn echo he gin and sell irae SS Se Co "Meal nd ode Uttara Pea” Y Ceeseton ruber ecg crane pute ty Wind rg Arr Aerim Une bw pS sins rn ett Henin, We 19995, “he Tass of the Tar, We Baiamin (19%) unsinations trans. H. Zara, Landon: Pimlico, pp. 32-82, em192 Deleuze and the Contemporary World elem. (19864 Crema: the Masomet-mae, ets Tle and i Hn ede ae a eke) Cina 2 he Tees Tino aR Ga, Tene The to ss 7 ‘eke nd Geary F 9MB), A Thowand Pea: Caption end re en Na a ee ‘eke Gar Gaur 1194), ha Pot Barcel and Toni Lend nd New frees festa Hall, S1996h "New tite tn Maley anf K. Co fad) (2996 ‘inal aan Cao Sot Cmte ant Nee Make Rows Mo arn Da ule ch 97, abhi Date ren Be op S856 ened ich Fas: ion He Ciao, pest on Ml labor Mul (1998 lr Dc sla Macy, London and Sting Muy ipo, The Shino Fie tral Cons Enadnet ad the Ses rh nd Lona Dude Une Bese ~ te I Sth Ce of Raye Hea Epon, ane aco dl Moot ad oats Sead Se Reo alae nd hat Amo akon aa ee “von Sel at Gein 000 Toes Td ingen Eps ‘eit Beclopent a Cinema of scan inte and Were Re SEEMED oth td ey nay a ed Ox gym Mth Prt iT Dies of The Choma Landon an Sterno Me " : Notes 4 Aro aad Heri 197) sued soln cay te a shen. 2 eae wh promi ny of in ini exe psc ange ot ol stan Ae ach words and eons oa Seiten ‘Dek er ri and he Ploy of ama by VN bio he natu in (Rew eS Pc Thai stan mp bythe nel As Now yee 1937, hee ci al gh he ante be igen sida de Ben Mat so reso I scoulh Tmea ot ina so an psa ome fpr hail DVD cpin Mat Thin ens Hing riba {ant a sida amet expnanc andere Pe tothe po sacs Sng osu dans tec se Pete spyicain of One Se Babe Sk Aresing the Flax of meges ond Sounds 193 1. Deane cal te perenne sr ne en's in Dele beset, 9. Selon Bchenan Tete liam’ si alae 18 Ec ay ian ar ey 189). Inve fy meta thw sation. ct Ha Dow out ier af gine hd sy Srp ontieceoy Reartytnciea er hieeer renga fines it simportan ta ow tha Ba Het Donon ma ‘eth pps fh Reap nd esp enon sera ei ing n't Aen he he {brother poplars uncer Aneto snr 12 tata sop Sos Armes Thea fi sre nd Ces Be tratando was dnt a we ss eed ey i ee ‘ke Way) Tey al prt ae tnd aly tao ihe yf yc oir hh cas 1, Ort wap ices yey and sare Mayoe 200 129, 12: Inte ects Car Son ghana ad Mh on ‘Gate 2008) stents apes dara she ed ne ie ea errant neat erat it at Ain tga ine S a oS Itopsandtrcrttc ins fetus dees ne