Preserve each edition’s wording before explaining a house term

Begin with characters who see rather than act, but do not treat inaction as the endpoint. Trace how pure optical and sound situations alter the character-world relation.

This is the hinge between the two Cinema volumes: it revisits the closure of the movement-image and shows why new signs must appear.

Do not diagnose the time-image by the presence of memory. Ask whether recollection is reattached to the present through action and psychological causality.

Treat the crystal as dynamic exchange, not an inventory of mirror motifs. Deleuze distinguishes perfect, cracked, forming, and decaying crystals.

Compare the sheets of past in Citizen Kane with the multiple presents of Last Year at Marienbad: both are non-linear, but their temporal structures differ.

Keep asking whether the film secretly preserves a final tribunal. The false gains power only when the adjudicating position is also drawn into the series.

The chapter moves from classical faith that totality and shock automatically produce thought to modern cinema’s need to begin from the impossibility of thinking.

Read body and brain together: one begins from fatigue, waiting, and ceremony; the other from topological connections and informational landscapes.

Do not merely look for asynchronous sound. Study how sound and image form distinct series and meet at an incommensurable boundary.

Return to the whole project: taxonomy is not a closed table but a way to reserve generative space for images and signs that do not yet exist.