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Cinema 1: The Movement-Image

by Gilles Deleuze
University of Minnesota Press, 1986
Paper: 978-0-8166-1400-4
Library of Congress Classification PN1995.D39313 1986
Dewey Decimal Classification 791.4301

TOC

  • Contents 
    • Preface to the English edition
    • Translators' introduction
    • Preface to the French edition
    • Chapter 1 
    • Theses on movement First commentary on Bergson
      • 1 
      • First thesis: movement and instant
      • 2 
      • Second thesis: privileged instants and any-instant-whatevers
      • 3 
      • Third thesis: movement and change / the whole, the Open or duration / the three levels: the set and its parts: movement / the whole and its changes
    • Chapter 2 
    • Frame and shot, framing and cutting
      • 1 
      • The first level: frame, set or closed system / the functions of the frame / the out-of-field: its two aspects
      • 2 
      • The second level: shot and movement / the two facets of the shot: directed towards sets and their parts, directed towards the whole and its changes / the movement-image / mobile section, temporal perspective
      • 3 
      • Mobility: montage and movement of the camera / the question of the unity of the shot (sequence-shots) / the importance of false continuity
    • Chapter 3 
    • Montage
      • 1 
      • The third level: the whole, the composition of movement images and the indirect image of time / the American school: organic composition and montage in Griffith / the two aspects of time: the interval and the whole, the variable present and immensity
      • 2 
      • The Soviet school: dialectical composition / the organic and the pathetic in Eisenstein: spiral and qualitative leap: Pudovkin and Dovzhenko / Vertov's materialist composition
      • 3 
      • The pre-war French school: quantitative composition / Rhythm and mechanics / the two aspects of the quantity of movement: relative and absolute / Gance and the mathematical sublime / the German Expressionist school: intensive composition / light and shadows (Murnau, Lang) / Expressionism and the dynamic sublime
    • Chapter 4 
    • The movement-image and its three varieties Second commentary on Bergson
      • 1 
      • The identity of the image and the movement / movement-image and light-image
      • 2 
      • From the movement-image to its varieties / perception-image, action-image, affection-image
      • 3 
      • The reverse proof: how to extinguish the three varieties (Beckett's Film) / how the three varieties are formed
    • Chapter 5 
    • The perception-image
      • 1 
      • The two poles, objective and subjective / the ‘semi-subjective’ or the free indirect image (Pasolini, Rohmer)
      • 2 
      • Towards another state of perception: liquid perception / the role of water in the pre-war French school / Grémillon, Vigo
      • 3 
      • Towards a gaseous perception / content and interval according to Vertov / the engramme / a tendency of the experimental cinema (Landow)
    • Chapter 6 
    • The affection-image Face and close-up
      • 1 
      • The two poles of the face: power and quality
      • 2 
      • Griffith and Eisenstein / Expressionism / lyrical abstraction: light, white and refraction (Sternberg)
      • 3 
      • The affect as entity / the icon / ‘Firstness’ according to Peirce / The limit of the face or nothingness: Bergman / how to escape from it
    • Chapter 7 
    • The affection-image Qualities, powers, any-space-whatevers
      • 1 
      • The complex entity or the expressed / virtual conjunctions and real connections / the affective components of the close-up (Bergman) / from close-up to other shots: Dreyer
      • 2 
      • The spiritual affect and space in Bresson / what is an ‘any-space-whatever’?
      • 3 
      • The construction of any-space-whatevers / shadow, opposition and struggle in Expressionism / the white, alternation and the alternative in lyrical abstraction (Sternberg, Dreyer, Bresson) / colour and absorption (Minnelli) / the two kinds of any-space-whatevers, and their frequency in contemporary cinema (Snow)
    • Chapter 8 
    • From affect to action The impulse image
      • 1 
      • Naturalism / originary worlds and derived milieux / impulses and fragments, symptoms and fetishes / two great naturalists: Stroheim and Buñuel / parasitic impulse / entropy and the cycle
      • 2 
      • A characteristic of Buñuel's work: power of repetition in the image
      • 3 
      • The difficulty of being naturalist: King Vidor / the case and the evolution of Nicholas Ray / the third great naturalist: Losey / impulse to servility / the reversal against self / the co-ordinates of naturalism
    • Chapter 9 
    • The action-image The large form
      • 1 
      • From situation to action: ‘secondness’ / the encompasser and the duel / the American Dream / the great genres: the psycho-social film (King Vidor), the Western (Ford), the historical film (Griffith, Cecil B. De Mille)
      • 2 
      • The laws of organic composition
      • 3 
      • The sensory-motor link / Kazan and the Actors Studio / the impression
    • Chapter 10 
    • The action-image The small form
      • 1 
      • From action to situation / the two kinds of indices / the comedy of manners (Chaplin, Lubitsch)
      • 2 
      • The Western in Hawks: functionalism / the neo-Western and its type of space (Mann, Peckinpah)
      • 3 
      • The law of the small form and burlesque / Chaplin's evolution: the figure of discourse / the paradox of Keaton: the minoring and recurrent functions of the great machines
    • Chapter 11 
    • Figures, or the transformation of forms
      • 1 
      • The passage from one form to another in Eisenstein / montage of attractions / the different types
      • 2 
      • The figures of the Large and the Small in Herzog
      • 3 
      • The two spaces: the breath-Encompasser and the line of the Universe / breath in Kurosawa: from the situation to the question / lines of the Universe in Mizoguchi: from outline to obstacle
    • Chapter 12 
    • The crisis of the action-image
      • 1 
      • Peirce's ‘thirdness’ and mental relations / the Marx Brothers / the mental image according to Hitchcock / marks and symbols / how Hitchcock brings the action-image to completion by carrying it to its limit / the crisis of the action-image in the American cinema (Lumet, Cassavetes, Altman) / the five characteristics of this crisis / the loosening of the sensory-motor link
      • 2 
      • The origin of the crisis: Italian neo-realism and the French new wave / the critical consciousness of cliché / problem of a new conception of the image
      • 3 
      • Towards a beyond of the movement-image
    • Glossary
    • Notes
    • Index
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