Cinema Glossory of Deleuze

8/2/2019 Cinema Glossory of Deleuze

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Appendix A

Deleuze s "Toolbox" ofCinema i and Cinema 2

Cinema 1: The Movement-Image

Indirect Time

Montage >How are images linked (to perception / affection / action)

Category

(Bergson)

Sign

(Peirce)

Activity Form Space Examples

Perception-image

a. Semisubjectivity

(free indirect

discourse)

b. Liquid perception

c. Gaseous perception

Zeroness

a. Dicisign

b. Reume

c. Gramme

Look Long-shot General

a. (Theory of) Pasolini

b. French school (Vigo,

Renoir)

c. Cin^-eye (Vertov); American

experimental cinema

(Brakhage)

Affection-image

a. Face (quality /

power)

b. Any-space-whatevei

(quality / power)

c. Between social +

individual

Firstness

a. Icon

b. Qualisign /

potisign

c. Dividual

Emotion

Affect

Close-up Empty or

any-space-

whatevers

a. Von Sternberg / Bergman /

Dreyer

b. Bresson / Ivens / Antonioni

c. Eisenstein

Impulse-image a. Symptomsb. Fetish / idols

Von Stroheim / Bunuel / Losey

Action-image

a. Large form: SAS'

(Situation-Action-

New Situation)

b. Small form: ASA'

(Action-Situation-

New Action)

Secondness

a. Synsign

Binome

Imprint

b. Index

Vector

Action

Behavior

Medium-

shot

Determined

a. Genres: docu (Flaherty) /

psycho-social / film noir /

nation + historical films /

actors studio / burlesque

(Keaton) / western

b. Genres: docu (Grierson) /

direct-cinema / police films /

comedy / burlesque

(Chaplin) / neo-western

Reflection-Image a. Figure

b. Discursive

Eisenstein / Herzog

Kurosawa / Mizoguchi

Relation-image Thirdness Mental

a. Mark/demark activity

b. Symbol

Tropes Marx Brothers

Hitchcock


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228 Toolbox of Cinema i and Cinema 2

Beyond the movement-image:

Break with sensory-motor link

No more distinction real / fiction > virtual / actual form crystals

Autonomy of image and sound

Cinema 2: The Time-Image

Direct Time

Montage > Montrage

(What does the image show; what does it relate to if not to a

perception / affection / action: to memory, time + thought)

Actualization of past Iimaginary:

Memory / Dream Sign Comment

Recollection-image Mnemosign Flashback

Dream-image Onirosign Metamorphosis of the real

Opsigns + Sonsigns + Tactisigns >

Pure optical, sonar + tactile situations

Actual and virtual become indiscernible (crystals):

Direct Time-Images Sign Aspect Comments

Crystal-image Hyalosign Perfect (Ophiils)

(real / imaginary) Cracked (Renoir)

In formation (Fellini)

Decomposing(Visconti)

World is shown as a crys

tal trapped in endless mir

ror reflections

Chronosign a. Aspect

(true / false:

powers of the false) b. Accent

a. Sheets of past

(Resnais)

b. Peeks of present

(Robbe-Grillet)

c. Gensignc- Becoming (Welles /

Rouch / Godard)

a + b: Memory (Bergson)

c. Bodily forces (Nietzsche

/ Spinoza)

Noosign

(what forces to

think: noochoc)

a. Godard / Antonioni

/ Akerman

b. Resnais / Kubrick /

Antonioni

c. Third world cinema

/ political cinema

Free indirect speech / theirrational

a. "Give me a body"

b. "Give me a brain"

c. "The people are

missing"

Lectosign

(the readability of

the image)

Straubs / Duras Autonomy of components

of image (words, sound,

music)


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Appendix B

Glossary to Cinema i and Cinema 2

From Cinema 1: The Movement-Image (London: Athlone Press, 1986) pp.

217-18; and Cinema 2: The Time-Image (London: Athlone Press, 1989)

P. 335-

Movement-Image

The acentered set {ensemble) of variable elements that act on and react to

each other.

Image Center

The gap between a received movement and an executed movement; an ac

tion and a reaction {interval).

Perception-Image (the Thing)

A set {ensemble) of elements that act on a center and that vary in relation

to it.Dicisign: A term created by Peirce to designate principally the sign of

the proposition in general. It is used here in relation to the special

case of "free indirect proposition" (Pasolini). It is a perception in

the frame of another perception. This is the status of solid, geo

metric, and physical perception.

Reume: Not to be confused with Peirce's rheme ("word"). It is the


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230 Glossary to Cinema 1 and Cinema 2

perception of that which crosses the frame or flows out, the liquid

status of perception itself.

Gramme (engramme or photogramme): Not to be confused with a

photo, it is the genetic element of the perception-image, insepara

ble as such from certain dynamisms (immobilization, vibration,

flickering, sweep, repetition, acceleration, deceleration, etc.), the

gaseous state ofa molecular perception.

Affection-Image (Quality or Power)

That which occupies the gap between an action and a reaction, that whichabsorbs an external action and reacts on the inside.

Icon: Used by Peirce to designate a sign that refers to its object by in

ternal characteristics (resemblance). Used here to designate the af

fect as expressedby a face or a facial equivalent.

Qualisign (orpotisign): A term used by Peirce to designate a quality

which is a sign. Used here to designate the affect as expressed (or

exposed) in an any-space-whatever. An any-space-whatever issometimes an emptied space, sometimes a space the linking up of

whose parts is not immutable or fixed.

Dividual: That which is neither indivisible nor divisible but is di

vided (or brought together) by changing qualitatively. This is the

state of the entity, that is to say, of that expressed in an expression.

Impulse-Image (Energy)Symptom: Designates the qualities or powers related to an originary

world(defined by impulses).

Fetish: Fragment torn away by the impulse from a real milieu, and

corresponding to the originary world.

Action-Image (the Force or Act)

A reaction to the center to the set {ensemble)

Synsign (or encompasser): Corresponds to Peirces "sinsign." A set of

qualities and powers as actualized in a state of things, thus consti

tuting a real milieu around a center, a situation in relation to a

subject: spiral. Belongs to the large form of the action image where

we go from the situation to the transformed situation via the in-

termediatry of the action (SAS').


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Glossary to Cinema i and Cinema 2 231

Impression: Internal link between situation and action.

Index: Used by Peirce to designate a sign that refers to its object by a

material link. Used here to designate the link of an action (or of

an effect of action) to a situation that is not given, but merely in

ferred or that remains equivocal and reversible. There are indices

of lackand indices ofequivocity: the two senses of the French word

ellipse (ellipse and ellipsis). Belongs to the small form of the ac

tion-image where the action that discloses the situation triggers of

a new action (ASA').

Vector(or line of the universe): A broken line that brings together sin

gular points or remarkable moments at the peak of their intensity.

Vectorial space is distinguished from encompassing space.

Transformation-Image (Reflection)

Figure: A sign that, instead of referring to its object, reflects another

(scenographic or plastic image) or that directly reflects its object

{discursive image).

Mental-Image (Relation)

Mark: Designates natural relations, that is, the aspect under which

images are linked by a habit which takes [faitpasser] us from one

to the other. The demarkdesignates an image torn from its natural

relations.

Symbol: Used by Peirce to designate a sign that refers to its object byvirtue ofa law. Used here to designate the support ofabstractrela

tions, that is to say, of a comparison of terms independently of

their natural relations.

Opsign and Sonsign: Pure optical and sound image that breaks the

sensory-motor links, overwhelms relations, and no longer lets it

self be expressed in terms of movement but opens directly to time.

Time-Image

Chronosign (point and sheet): An image in which time ceases to be

subordinate to movement and appears for itself.

Lectosign: A visual image that must be "read" as much as seen.

Noosign: An image that goes beyond itself toward something which

can only be thought.


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232 Glossary to Cinema i and Cinema 2

Crystal-Image

Hyalosign: The uniting of an actual image and a virtual image to the

point where they can no longer be distinguished.

Dream-Image

Onirosign: An image where a movement of world replaces action.

Recollection-Image

Mnemosign: A virtual image that enters into a relationship with the

actual image and extends it.

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