Deleuze on Cinema
English · Routledge · 2003
ISBN 9780415966047Verify editionCore question
How do the compressed philosophical sources, film examples, and sign names in the two Cinema books form an operational line of reasoning? What relation composes each sign, and from what cinematic condition does it arise?
Argument
Bogue offers one of the clearest systematic reconstructions: from Bergsonian duration and matter-image through frame, shot, and montage into the signs of the movement-image, then from the sensory-motor crisis toward crystals, orders and series of time, noosigns, and lectosigns. He supplies conceptual transitions compressed by Deleuze while preserving the taxonomy's openness, enabling readers to name signs from shot relations.
Argument structure
Bergson's account of images and the relations among frame, shot, and montage form the book's foundation. Movement-images are classified through compositional relations and genetic elements. When action links break, the argument turns to new relations between actual and virtual, past and present, thought and outside, sound and the visible.