Lectosign

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Displayed still

01:17:54

Discussion passage

01:17:18 - 01:18:10

Frame-checked against the single-part Bilibili repost stream BV12QcAzME5g: the page API reports 6,867 seconds and the retrieved qn16 media runs 6,866.48 seconds. Bilibili supplies no subtitle track; dialogue sense was cross-checked against a third-party English SRT bearing the same DVDRip release name.

Image

A bare-chested figure moves low to the ground and is then screened by leaves, leaving only eyes and part of the face visible.

After this gaze, the film cuts to Thai text on black and then back to the forest; the exact-release English SRT renders the writing as the ghost being drawn to the soldier's 'sound device.'

Sound

Sparse forest sounds and several near-silent intervals accompany the figure's movement; the segment contains no spoken dialogue.

No spoken reading accompanies the black intertitle; the information about the 'sound device' is supplied only in writing.

Relation to the concept

Lectosign candidate: the relation holds only if failed radio calls, occlusion through leaves, the unvoiced intertitle, and memory of the first movement are relinked as four heterogeneous strata. If the writing merely supplies missing information, the lectosign label should be withdrawn.

Sources and further reading

• Bilibili · 冰山阴影_ · public repost page

  01:17:54 · The body first appears as a difficult-to-identify fragment; a following intertitle links the gaze to the soldier's sound device. Bilibili timecode 01:17:54.

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Displayed still

01:28:42

Discussion passage

01:28:20.380 - 01:28:47.657

Within a continuous 01:28:15–01:28:55 window on the complete single-part Bilibili carrier BV1dN4y1B7tF, the atlas used cut detection and then frame-by-frame review to verify four cut points: first vase at 01:28:20.380, back to Noriko at 01:28:26.469, second vase at 01:28:37.397, and cut to the Ryōan-ji rock garden at 01:28:47.657. These coordinates bind only this 01:47:59 carrier; other restorations, releases, and leader lengths require fresh location.

Image

In the shot immediately preceding the stored interval, Noriko lies down smiling. The stored bounds begin with the first vase shot, return to Noriko as tears gather in her eyes, cut to the same vase a second time, and end at the instant of cutting into the Ryōan-ji rock garden. Viewed with the adjacent shot, the order is Noriko's face–vase–Noriko's face–vase–rock garden.

On this carrier, the first vase shot lasts about 6.089 seconds and the second about 10.260 seconds. During the second, the vase remains nearly motionless while bamboo shadows continue moving on the shoji.

Sound

On p. 297, Parks uses continuing snoring to establish temporal contiguity across the shots; on p. 298, he reports that a musical theme enters about four seconds into the second vase shot and bridges to the rock-garden scene. This is Parks's written account of his material; treating it as an audible fact of this carrier still requires a separate check of its soundtrack.

Relation to the concept

The viewer must recompose shot length, facial difference, moving shadows, snoring, and music to explain how the transition is organized. Yet this remains chapter 1's still-life problem and must not be prematurely identified with the chapter 9 lectosign.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation, ch. 1, pp. 16–17 · Deleuze distinguishes still life from empty space and uses the vase to explain change occurring in an unchanging form. The primary text gives no seconds for this Bilibili carrier; the atlas separately verifies the four cuts.

• The Riddle of the Vase: Ozu Yasujirō’s Late Spring (1949)

  Japanese Cinema: Texts and Contexts (2007), pp. 78–89; point-of-view debate on p. 86 · Nornes surveys conflicting interpretations and notes that Bordwell and Thompson correct Richie's and Schrader's loose descriptions of point of view. His emphasis on p. 86, however, is that this formal correction still does not explain why the vase is ‘oddly powerful.’ Rejecting the shortcut from ‘she sees the vase’ to a fixed emotional symbol is the atlas's methodological boundary, not Nornes's single conclusion.

• Change, Horizon, and Event in Ozu’s Late Spring (1949)

  Film-Philosophy 20.2–3 (2016), pp. 292–298, DOI 10.3366/film.2016.0016 · Parks places Deleuze's temporal reading alongside shot legibility, sound continuity, and shot length. He reports four seconds for the first vase shot and nine for the second, whereas this carrier yields 6.089 and 10.260 seconds. Because the article does not identify its transfer or timing method here, the discrepancy is recorded without attributing it conclusively to an edition difference.

• Bilibili · bili_29513417942 · complete single-part Late Spring · user repost

  01:28:42 · During the second vase shot, the vase remains nearly motionless while bamboo shadows continue moving across the shoji. The still records composition only. The 27.277-second interval from 01:28:20.380 to 01:28:47.657 begins with the first cut to the vase, passes through Noriko's face and the second vase shot, and ends at the cut into the rock garden; the preceding smiling face lies outside these stored bounds. Bilibili timecode 01:28:42.

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Displayed still

第1分段 00:08:20 / Part 1 00:08:20

Discussion passage

第1分段 00:08:00–00:08:40 / Part 1 00:08:00–00:08:40

Carrier part

1

Part 1's empty-beach and off-screen voice passage was frame-checked.

Image

Beach, bench, fence, and distant buildings remain empty; neither the ball nor a speaker appears.

Sound

An off-screen voice speaks of a grand ball without receiving a synchronized source in the empty view.

Relation to the concept

Sound and image unfold independently rather than through synchronized explanation; the viewer must read the interval among empty place, absent figures, and off-screen narration.

Sources and further reading

• Bilibili · La Femme du Gange, part 1

  第1分段 00:08:20 / Part 1 00:08:20 · Complete Bilibili carrier; the shot at 第1分段 00:08:20 was checked frame by frame, and the still and timestamp come from the same public upload.

• Cinema 2: The Time-Image

  Cinema 2, chapter 7, pp. 173–180; chapter 9, pp. 245–261.

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Displayed still

01:10:00

Discussion passage

01:09:35–01:10:25

The monologue-in-the-fields passage was frame-checked.

Image

The man speaks at the field's edge while crops, paths, and parcels remain clearly visible behind him.

The shot does not cut to dramatic action as an illustration of the speech.

Sound

The man delivers Pavese's text in a continuous, measured voice without erasing the outdoor sound field.

Relation to the concept

The land is read as a stratum marked by struggle while speech crosses without exhausting it; the two series reconnect history at their respective limits.

Sources and further reading

• Bilibili · From the Clouds to the Resistance complete film

  01:10:00 · Complete Bilibili carrier; the shot at 单片 01:10:00 was checked frame by frame, and the still and timestamp come from the same public upload.

• Cinema 2: The Time-Image

  Cinema 2, chapter 9, pp. 253, 255, 259.

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Displayed still

00:42:15

Feature time

00:42:15

Stills and jumps use the user-supplied Bilibili carrier. The feature occupies 00:00:00–01:39:10; coastal aerial footage after it is carrier padding.

Image

The condemned answer questions, spectators applaud, bodies fall into water, and swimmers retrieve them. Voice, ritual, and bodily action operate like a repeatable script.

Relation to the concept

Reading the image no longer means recognizing an event. It means reading how speech, space, and bodies compose a protocol of governance—the work of the lectosign.

Sources and further reading

• Cinema 2, Chapter 9

  Cinema, thought, and the electronic automaton

• Cinema 2 edition record

  Check primary-text and translation coordinates

• Criterion essay on Alphaville

  Continue with Godard's operations on genre, city, and language

• Compare Synecdoche, New York

  Move from a voice of control to doubles and earpiece commands

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Displayed still

01:38:00

Feature time

01:38:00

Stills and jumps use the user-supplied Bilibili carrier. The feature occupies 00:00:00–01:39:10; coastal aerial footage after it is carrier padding.

Image

Natacha pauses, tests, and speaks word by word a relational phrase cancelled by the dictionary. Her voice and face do not suddenly recover a ready-made ‘human nature.’

Relation to the concept

The utterance changes what the two can do together as it is spoken. Its force comes not from a dictionary entry but from making a new relation begin to exist.

Sources and further reading

• Cinema 2, Chapter 9

  Cinema, thought, and the electronic automaton

• Cinema 2 edition record

  Check primary-text and translation coordinates

• Criterion essay on Alphaville

  Continue with Godard's operations on genre, city, and language

• Compare Synecdoche, New York

  Move from a voice of control to doubles and earpiece commands

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Displayed still

00:04:00

Feature time

00:04:00

Carrier part

1

The user-supplied Bilibili page divides the feature across fourteen parts and appends Tom and Jerry padding to each. The atlas captures only checked feature windows and always records both part number and within-part time.

Image

Broadcast dates, newspapers, seasonal programmes, food, and bodily symptoms traverse months inside one apparently continuous breakfast, while the characters treat change as ordinary noise.

Relation to the concept

Time is not a theme later added to life. Editing first deprives the present of a stable peak and forces viewers to read incompatible temporal markers.

Sources and further reading

• Actual, virtual, and crystal dossier

  Audit nesting and doubles with strict criteria

• Cinema 2, Chapter 4

  The crystal's minimal circuit and exchanging faces

• Sony Pictures Classics press kit

  Kaufman interview, production notes, and credits

• Compare Black Swan

  Compare how a role system acquires a body

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Displayed still

00:06:44

Feature time

00:06:44

All three stills and jumps use Bilibili’s official PGC ep368800 (01:50:45; internal BVID BV1zz4y1k7Ej). Official access can vary by membership and region; shot locator, edition record, and theoretical source remain separately documented.

Image

Red, yellow, and blue monochrome light compress guests into advertising-like planes; composition resembles product images taking turns on screen rather than neutral social space.

Sound

Characters exchange no experience and take turns reciting formulae for cars and toiletries. Speech still leaves mouths but has lost a unique speaking position.

Relation to the concept

The lectosign asks viewers to read how colour fields, commodity speech, and bodies compose rather than search for psychology. Cliché is not a theme but a media machine preformatting what can be said.

Sources and further reading

• Cinema 2, Chapter 7

  Shock to thought, categories, and connections no longer totalized

• Cinema 2, Chapter 9

  Autonomous audiovisual series and the interval

• Deleuze seminar, 29 Jan 1985

  Primary seminar discussion of the Vietnam skit, category, and irrational cut

• Criterion: self-portrait in a shattered lens

  Verify the party, advertising speech, and fragmentary form

• Pantenburg: open Godard / Farocki study

  Continue tracing seascape, horizon, and disembodied voice

• Compare Passion

  Move from categorical interruption to vertical juxtaposition of painting, factory, and studio

Displayed still

PAL 00:16:55

Feature time

PAL 00:16:55

Frame research uses the public Internet Archive reference copy (01:24:18, 25fps PAL speed-up). Its three images are checked frames, while watch links are marked as edition locators rather than direct Bilibili shots. In 87–88-minute editions these events usually occur about 4% later; align by visual and spoken checkpoints. User-supplied BV1gPKPzZEfZ is Ryusuke Hamaguchi’s 2008 namesake and remains excluded from Godard’s record.

Image

Actors playing the firing squad level rifles while a light box remains visible inside the composition; this tableau then alternates with royal portraiture, exposed bodies, cinematographic machinery, and Isabelle’s factory body in a continually reorganized series.

Sound

Mozart’s Requiem runs alongside production phrases such as ‘the light doesn’t work’ and ‘follow the story.’ Historical mourning, studio judgment, and labour dispute do not merge into one authoritative voice.

Relation to the concept

Category does not apply one theme to heterogeneous material; it lets execution, nude, royalty, factory, and strike rewrite one another’s visibility. The lectosign must preserve differences among layers for their relation to be legible.

Sources and further reading

• Cinema 2, Chapter 7

  Category, thought, and connection no longer guaranteed by a whole

• Cinema 2, Chapter 8

  Bodily attitudes, work, and belief in this world

• Cinema 2, Chapter 10

  Conclusion on open image, information, and outside

• Ilse Lafer: Passion in Work

  Trace Goya, factory, strike, and unfinished production page by page

• Deleuze seminar: pictorial category

  Primary account of tableaux as vertically developing categories

• Cinémathèque française edition record

  Verify the 87-minute edition, production, and music