RESEARCH GUIDE · ATLAS CROSS-INDEX
Cinéma 1: L’image-mouvement
How does cinema present movement directly? How does the interval introduced by a living centre differentiate one universe of images into perception, affection, and action?
CORE QUESTION
How does cinema present movement directly? How does the interval introduced by a living centre differentiate one universe of images into perception, affection, and action?
CONTRIBUTION
Deleuze joins Bergson's matter-image, formal analysis, and Peircean semiotics into a genetic taxonomy. Frame, shot, and montage organize changes in an open whole, while perception-, affection-, impulse-, action-, reflection-, and relation-images specify different functions of movement. Time appears mainly indirectly through movement and montage, and the final crisis of action already opens the passage to Cinema 2.
READING ROUTE
Begin with Chapters 1–3 and secure the ontological line from movement to mobile section to open whole. Then follow the taxonomy through perception, affection, impulse, action, reflection, and relation. For each image type, diagram input, interval, and output in one concrete shot. Close-read Chapter 12, identify each symptom of the action-image's crisis, and only then move into Cinema 2.
CONTINUE THROUGH THE ATLAS
Connect this book to concepts, chapters, films, and evidence
EDITIONS & ACCESS
Return from the argument to verifiable editions
L’Image-mouvement. Cinéma 1
French · Les Éditions de Minuit · 1983
ISBN 9782707306593Verify original edition- Cinema 1: The Movement-ImageUniversity of Minnesota Press · 1986 · Trans. Hugh Tomlinson; Barbara Habberjam
- 《运动—影像／电影1》湖南美术出版社 · 2016 · Trans. 谢强
- 《電影 I：運動－影像》遠流出版 · 2003 · Trans. 黃建宏
Purchase / library / controlled lending
The French original, standard English translation, and published Simplified and Traditional Chinese translations are verified.