Mental-image

▶

Displayed still

00:02:15

Discussion passage

approx. 00:01:40—00:02:25 (the opening tour across two racing-crash photographs containing the 00:02:15 still)

Reviewed passage by passage on the 01:50:54 single-part Bilibili carrier with hard Chinese and English subtitles. 00:02:15 is the still anchor and 00:01:40—00:02:25 is the atlas's working boundary; opening credits and transitions may introduce seconds of drift across masters.

Image

The camera moves from the courtyard and sleeping Jeff to his leg cast, then across racing-crash photographs, a damaged camera, and magazine covers.

The 00:02:15 anchor juxtaposes two racing-crash photographs; it does not by itself show the injury occurring.

Sound

The visual inventory has no explanatory voice-over; the following telephone exchange more explicitly supplies Jeff's profession and condition.

Relation to the concept

Body, profession, and apparatus become an object of thought through the opening tour rather than an account of private interiority.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, p. 201 · Page 201 directly uses Rear Window's opening: the camera passes sleeping Jeff, cast, racing photographs, and a damaged camera to explain his work as a photographer and his broken leg. The primary text names this opening relation; the atlas is responsible for the 00:01:40–00:02:25 boundary and shot-by-shot description.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–135 · Deamer reconstructs the general taxonomy here: mark and demark are compositional signs of natural relations, while symbol is the genetic sign of abstract relations. These pages do not perform the atlas's shot analysis of Rear Window.

• Bilibili · public 01:50:54 single-part repost of Rear Window with hard Chinese and English subtitles, located and reviewed by the atlas; the specific master and restoration were not independently established

  00:02:15 · The photographic series does more than state an occupation: it links danger, camera, accident, and Jeff's fixed position of looking.

• Open the single-part hard-subtitled Rear Window carrier on Bilibili

  Still anchor 00:02:15; watch 00:01:40–00:02:25 continuously, recording what each object explains and whether that explanation remains operative in the later viewing apparatus. The timecode applies only to the 01:50:54 single-part BV1zvyTYMEqk carrier with hard Chinese and English subtitles; Blu-ray, DVD, and other streaming editions require fresh location.

▶

Displayed still

01:40:25

Discussion passage

approx. 01:39:40—01:40:35 (the passage in which Lisa displays the wedding ring and Jeff and Stella recognize its force containing the 01:40:25 still)

Reviewed passage by passage on the 01:50:54 single-part Bilibili carrier with hard Chinese and English subtitles. 01:40:25 is the still anchor and 01:39:40—01:40:35 is the atlas's working boundary; opening credits and transitions may introduce seconds of drift across masters.

Image

Lisa raises the ring at the opposite window and displays it toward Jeff; the film cuts back to Jeff and Stella watching and responding.

Thorwald then notices Lisa's gesture and turns his look across the courtyard, threatening the previously one-way arrangement of vision.

Sound

Jeff and Stella's dialogue identifies the ring as an object Mrs. Thorwald would not willingly leave behind. Hard subtitles provide Chinese and English text but are not treated as an independent master check.

Relation to the concept

The ring makes unseen marriage, murder hypothesis, and spectatorial inference into one object of thought organized by the image.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, p. 204 · Page 204 directly lists “the wedding ring of Rear Window” as a symbol and defines the symbol as a concrete bearer of abstract relations. The primary text does not specify 01:40:25 on this carrier; the time window, visible facts, and argument about the display reorganizing relations of looking are the atlas's responsibility.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–135 · Deamer reconstructs the general taxonomy here: mark and demark are compositional signs of natural relations, while symbol is the genetic sign of abstract relations. These pages do not perform the atlas's shot analysis of Rear Window.

• Bilibili · public 01:50:54 single-part repost of Rear Window with hard Chinese and English subtitles, located and reviewed by the atlas; the specific master and restoration were not independently established

  01:40:25 · The ring belongs to the missing wife's marital relation and, through Lisa's display, enters the knowledge relations among Jeff, Stella, Thorwald, and the spectator.

• Open the single-part hard-subtitled Rear Window carrier on Bilibili

  Still anchor 01:40:25; watch 01:39:40–01:40:35, recording in order Lisa's gesture, Jeff and Stella's recognition, and Thorwald's returned look. The timecode applies only to the 01:50:54 single-part BV1zvyTYMEqk carrier with hard Chinese and English subtitles; Blu-ray, DVD, and other streaming editions require fresh location.

▶

Displayed still

01:12:00

Discussion passage

approx. 01:07:45—01:14:40 (the attack passage in which the crop-duster flies head-on and closes on the barren roadside horizon containing the 01:12:00 still)

Reviewed passage by passage on the 02:16:25 single-part dubbed BV1m2XTYuERk carrier. 01:12:00 is the still anchor and 01:07:45—01:14:40 the atlas's working passage, not a claim to final cut-by-cut boundaries. Credits, transitions, and end titles may introduce seconds of drift across masters.

Image

Thornhill waits alone beside an open highway. Cars and a bus follow the road, another passenger waits and boards in the ordinary way, and the distant plane remains a small term in the environment.

After the bus takes the other passenger away, the plane changes its relation of distance and repeatedly dives toward Thornhill; he drops, runs, and takes cover in a field.

The 01:12:00 anchor shows the plane bearing head-on toward barren ground and a dirt road; the pursuit then continues into a causal chain involving a truck, tanker, and explosion.

Sound

The other waiting passenger's dubbed dialogue first notes that the plane is dusting where there are no crops to spray. After the bus leaves, the engine grows louder with the approach.

Relation to the concept

Character and spectator must judge the relation among plane, place, and use. The object is not the plane's shape but why it is here.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, p. 203 · Page 203 directly identifies as a demark the plane's appearance where there are no crops to spray. It neither specifies the atlas's 01:12:00 carrier anchor nor describes the ensuing attack shot by shot; the atlas is responsible for the window, still, and attack facts.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 48–53 · Across these pages Rushton develops five general features of Hitchcock's relation-image through Strangers on a Train and Vertigo. North by Northwest enters only as a listed example of wrong identity, the exchange-of-crime tradition, and the crop-duster demark. The book does not supply the atlas's shot-level analysis of the title grid, the attack, or the final match cut.

• Bilibili · BV1m2XTYuERk · reviewed 02:16:25 single-part dubbed carrier; the specific master and restoration were not independently established

  01:12:00 · Deleuze's direct criterion precedes confirmation of the attack: the plane appears where there are no crops to spray. The low attack at 01:12:00 is a later visible fact checked by the atlas, not a substitute for that relational anomaly.

• Open the single-part dubbed North by Northwest carrier on Bilibili

  Still anchor 01:12:00; watch 01:07:45–01:14:40, first recording the ordinary road and aircraft series, then separately the no-crops dialogue, low turn, evasions, and explosion so that the later attack does not replace the criterion for the demark. The timecode applies only to the 02:16:25 single-part dubbed BV1m2XTYuERk carrier. The specific master or restoration was not independently established; other editions require fresh location.

▶

Displayed still

00:25:23

Discussion passage

approx. 00:25:00—00:25:42 (00:25:23 still holds the gull passing as Melanie covers her head)

Reviewed passage by passage on the 01:59:24 single-part Bilibili repost. 00:25:23 is the still anchor and 00:25:00—00:25:42 is the atlas's working boundary. Bilibili's official feature page ep291861 runs 01:59:30, so the two carriers cannot share second-level coordinates.

Image

Melanie pilots the skiff alone toward the dock while Mitch watches her approach; the bay crossing still advances toward a clear goal.

A single gull dives from above, strikes past her head, and leaves a wound; the film then cuts toward Mitch on shore and Melanie's injured reaction.

Sound

The skiff engine, water, and harbour ambience sustain the ordinary continuity of the crossing; a sharp bird cry cuts in with the impact.

No explanatory dialogue supplies a cause for the attack; Mitch can respond only through calls and gestures after the anomaly has occurred.

Relation to the concept

The spectator must compare the series before and after the attack; the object of judgement is the bird's relation to person, environment, and use, not the shape of one bird.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, p. 204 · Page 204 directly states that “the first gull which strikes the heroine is a demark.” The primary text does not supply the atlas's 00:25:23 carrier coordinate; the atlas is responsible for the window and shot facts.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–137 · Deamer reconstructs the operative difference among mark, demark, and symbol: a habitual series, an anomalous term departing from that series, and a concrete term bearing abstract relations. The pages provide criteria rather than classifying these three passages for the atlas.

• Bilibili · public 01:59:24 single-part repost of The Birds, reviewed passage by passage by the atlas; the specific master, grade, and restoration were not independently established

  00:25:23 · It abruptly changes from a familiar part of the landscape into an attacker; the anomaly lies in that change of relational position, not in the gull's appearance.

▶

Displayed still

01:11:22

Discussion passage

approx. 01:09:45—01:12:15 (01:11:22 still shows the flock covering the climbing frame and nearby rooflines)

Reviewed passage by passage on the 01:59:24 single-part Bilibili repost. 01:11:22 is the still anchor and 01:09:45—01:12:15 is the atlas's working boundary. Bilibili's official feature page ep291861 runs 01:59:30, so the two carriers cannot share second-level coordinates.

Image

Melanie smokes alone on a bench outside the school. The film repeatedly cuts from her to the climbing frame behind her; more crows have landed on each return while she does not turn around.

A passing crow finally guides her look backward. The climbing frame, nearby roofs, and ground are now crowded with birds, after which she enters the classroom to organize the children's departure.

Sound

Children repeat the same song off screen; it continues across successive cuts between Melanie and the climbing frame.

After the flock is discovered, the song gives way to scattered bird calls, shouts, and warnings to evacuate.

Relation to the concept

Ahead of the character, the spectator compares differences across cutbacks and organizes number, soundscape, architectural use, and escape relation as an object of thought.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, p. 204 · Page 204 states that “the thousands of birds … are a symbol.” It names neither the playground nor 01:11:22. The atlas uses that film-level judgement to constrain its playground analysis rather than passing off shot description as the primary text.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–137 · Deamer reconstructs the operative difference among mark, demark, and symbol: a habitual series, an anomalous term departing from that series, and a concrete term bearing abstract relations. The pages provide criteria rather than classifying these three passages for the atlas.

• Bilibili · public 01:59:24 single-part repost of The Birds, reviewed passage by passage by the atlas; the specific master, grade, and restoration were not independently established

  01:11:22 · The flock makes play equipment, the children's song, the school boundary, and the imminent evacuation parts of the same danger.

▶

Displayed still

00:15:30

Discussion passage

approx. 00:12:00—00:15:50 (00:15:30 still shows Elster standing in an office crowded with maritime images)

Reviewed passage by passage on the 02:07:27 single-part Bilibili repost with hard Chinese and English subtitles. 00:15:30 is the still anchor and 00:12:00—00:15:50 is the atlas's working boundary. Bilibili's official feature page ep291561 runs 02:07:49, and the repost may trim opening or closing material, so their timelines are not interchangeable.

Image

Elster brings Scottie into a wood-panelled office and the men alternate in medium views; images of ships, harbours, and buildings are visible on the walls and desk.

Only Elster and Scottie appear in this interval; the image inserts no portrait or flashback of Madeleine or Carlotta.

Sound

Elster asks Scottie to follow his wife and explains her anomalous behaviour as the influence of the dead Carlotta. Scottie questions the possession story but ultimately accepts the task of observation.

In dialogue, Elster identifies himself as husband, places Scottie as observer, designates Madeleine as the woman to be followed, and uses Carlotta's family history to explain her behaviour.

Relation to the concept

What the image asks us to think is not Scottie's private doubt but how Madeleine, Carlotta, Elster, and observer determine one another.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 197, 204–205 · These pages define the mental image's objects, Hitchcock's relational web, and the spectator's position, and directly explain Vertigo through variations in the relations of the Same. They do not analyze the atlas's chosen commission, letter, or green-light passages shot by shot; Rushton and the atlas's scene review bear those specific classifications.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–137 · Deamer supplies general criteria for mark, demark, symbol, and relation-image; he does not establish that a particular letter, colour, or camera movement has already acquired any of those statuses.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 53–54 · Rushton develops Vertigo's relational structure through Elster's commission, Judy's disruption of the existing series, spectator foreknowledge, and Scottie's remaking of the desired object. The substantive film argument ends on p. 57; p. 58 adds no film evidence.

• Bilibili · public 02:07:27 single-part repost of Vertigo with hard Chinese and English subtitles, reviewed passage by passage by the atlas; the uploader's collection notice describes a practice of trimming opening or closing material

  00:15:30 · Before the assignment begins, the absent Madeleine and the still earlier Carlotta already govern what Scottie will be asked to see through Elster's account.

▶

Displayed still

01:39:20

Discussion passage

approx. 01:38:30—01:40:30 (01:39:20 still shows Judy writing at the desk as the English hard subtitle reads “Dearest Scottie”)

Reviewed passage by passage on the 02:07:27 single-part Bilibili repost with hard Chinese and English subtitles. 01:39:20 is the still anchor and 01:38:30—01:40:30 is the atlas's working boundary. Bilibili's official feature page ep291561 runs 02:07:49, and the repost may trim opening or closing material, so their timelines are not interchangeable.

Image

Alone in the hotel room, Judy begins packing, then sits to write. A recollection shows her dressed as Madeleine ascending the tower and another body falling.

After finishing the letter, she tears it up; the letter is not given to Scottie.

Sound

Judy's voice-over reading gives the prior deception directly to the spectator, including Elster's arrangement and her position in playing Madeleine.

Scottie is absent from the room and does not hear Judy's voice-over reading.

Relation to the concept

Deception, identity, and who knows what become thought-objects directly organized by the image rather than a private secret inside one character.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 197, 204–205 · These pages define the mental image's objects, Hitchcock's relational web, and the spectator's position, and directly explain Vertigo through variations in the relations of the Same. They do not analyze the atlas's chosen commission, letter, or green-light passages shot by shot; Rushton and the atlas's scene review bear those specific classifications.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–137 · Deamer supplies general criteria for mark, demark, symbol, and relation-image; he does not establish that a particular letter, colour, or camera movement has already acquired any of those statuses.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 55–57 · Rushton writes that “Judy is no doubt the demark in Vertigo” and that “the audience must know more than Scottie.” The atlas's 01:39:20 coordinate and shot facts come from carrier review, not the book.

• Bilibili · public 02:07:27 single-part repost of Vertigo with hard Chinese and English subtitles, reviewed passage by passage by the atlas; the uploader's collection notice describes a practice of trimming opening or closing material

  01:39:20 · The letter is never sent, yet it changes the film's distribution of knowledge: the spectator learns Judy's relation to Madeleine while Scottie remains unaware.

▶

Displayed still

01:55:20

Discussion passage

approx. 01:53:45—01:56:50 (01:55:20 still shows Judy after the hair-and-suit makeover against green-lit curtains and wall)

Reviewed passage by passage on the 02:07:27 single-part Bilibili repost with hard Chinese and English subtitles. 01:55:20 is the still anchor and 01:53:45—01:56:50 is the atlas's working boundary. Bilibili's official feature page ep291561 runs 02:07:49, and the repost may trim opening or closing material, so their timelines are not interchangeable.

Image

Judy enters from the direction of the bathroom in a grey suit with her blonde hair pinned up; the curtains and wall are lit green.

Scottie approaches and embraces her as the camera circles the couple. The hotel room briefly overlaps with the earlier stable space before returning to the green room.

Sound

Dialogue recedes; the score expands as Judy appears, Scottie approaches, and the couple embrace.

Relation to the concept

The object of viewing includes the present woman, absent image, remaking procedure, and knowledge gap and cannot be reduced to Scottie's private fantasy.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 197, 204–205 · These pages define the mental image's objects, Hitchcock's relational web, and the spectator's position, and directly explain Vertigo through variations in the relations of the Same. They do not analyze the atlas's chosen commission, letter, or green-light passages shot by shot; Rushton and the atlas's scene review bear those specific classifications.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 56–57 · Rushton explains Scottie's remaking of Judy as regaining the object of desire and keeps spectator foreknowledge within the relational web; he does not directly analyze the green lighting or the 360-degree camera movement.

• Cinema 2: The Time-Image

  Minnesota 1989 translation, chapter 4, pp. 68–70, 78–81 · These pages supply general criteria for actual–virtual relations and the crystal without naming Vertigo. The atlas therefore retains only a candidate and requires additional evidence of reciprocal circuit and indiscernibility.

• Bilibili · public 02:07:27 single-part repost of Vertigo with hard Chinese and English subtitles, reviewed passage by passage by the atlas; the uploader's collection notice describes a practice of trimming opening or closing material

  01:55:20 · The spectator knows she is Judy while watching Scottie greet her as Madeleine returned; the overlap is first a relation of desire, knowledge, and control.

▶

Displayed still

00:02:05

Discussion passage

approx. 00:00:52—00:09:30 (00:02:05 still shows Guy's dark shoe touching Bruno's two-tone brogue; the relational interpretation is completed in the ensuing conversation)

Reviewed passage by passage on the 01:40:27 single-part hard-subtitled Bilibili repost BV1SY6fYdEnV. 00:02:05 is the still anchor and 00:00:52—00:09:30 is the atlas's working boundary for the argument. These coordinates bind only this carrier; every other release or cut requires fresh location.

Image

The opening separately follows two pairs of shoes into the station—two-tone brogues and plainer dark shoes—while withholding both faces.

After crossing rails, the edit enters the compartment. Guy moves his foot into Bruno's, joining two previously parallel series.

Sound

Train and station sounds precede dialogue. After the contact, Guy apologizes first; Bruno takes the opening to recognize him as a tennis player and then introduces himself.

The ensuing conversation moves from newspapers, marriage, and Bruno's father to each man killing for the other. Guy treats the proposal as absurd talk, while Bruno retains his response as an agreement.

Relation to the concept

The image asks us to track not personality but how contact becomes an imposed agreement and a relational act through interpretation.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 197–205, especially p. 201 · Page 201 defines the Hitchcockian third as relation and uses exchanged crimes to show relation entering action; pp. 203–204 distinguish mark, demark, and symbol in general. The primary text supplies neither the atlas's carrier coordinates nor a shot-by-shot assignment of eyeglasses and lighter to sign types; Rushton and carrier review bear that object-level chain.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–137 · Deamer reconstructs the general taxonomy of relation-image, mark, demark, symbol, and spectator implication. It helps police the inference boundary but does not analyze Strangers on a Train shot by shot.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 48–50 · Rushton develops five traits through Strangers on a Train: relational third, initiating action, exchange of crimes, series of marks and demarks, and film–spectator relation. Pages 49–50 treat the opening encounter, pp. 50–52 the exchanged crimes, lighter, and glasses, and pp. 52–53 the final proof and spectator trap.

• Bilibili · 地老天荒仍未改 · public 01:40:27 single-part repost of Strangers on a Train with hard Chinese and English subtitles; access without login, playback URL, and all three anchors checked, while the platform submission label does not establish authorization

  00:02:05 · The foot contact produces only an encounter; Bruno then interprets it as acquaintance and rewrites Guy's words as consent to exchange murders.

▶

Displayed still

00:26:30

Discussion passage

approx. 00:24:20—00:27:05 (00:26:30 still shows Bruno strangling Miriam in one lens of her fallen eyeglasses)

Reviewed passage by passage on the 01:40:27 single-part hard-subtitled Bilibili repost BV1SY6fYdEnV. 00:26:30 is the still anchor and 00:24:20—00:27:05 is the atlas's working boundary for the argument. These coordinates bind only this carrier; every other release or cut requires fresh location.

Image

Bruno follows Miriam and two companions into the fairground, rings the bell on the strength tester, and trails their boat through the Tunnel of Love.

Miriam's glasses fall on the grass. The strangulation is shown principally in one reflected lens, bending and compressing the two bodies while the frame remains visible.

Sound

Distant fairground music, machinery, and cries continue over the lens image without supplying an on-scene witness capable of intervention.

A scream first sounds inside the Tunnel of Love; as the boat emerges, Miriam's protests and laughter temporarily frame it as horseplay. Breathing and ambient sound dominate the later strangulation on the island.

Relation to the concept

The shot forces three distinctions: Guy voices the wish, Bruno commits the murder, and the film gives the result to the spectator first. This is not reducible to Bruno's projection.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 197–205, especially p. 201 · Page 201 defines the Hitchcockian third as relation and uses exchanged crimes to show relation entering action; pp. 203–204 distinguish mark, demark, and symbol in general. The primary text supplies neither the atlas's carrier coordinates nor a shot-by-shot assignment of eyeglasses and lighter to sign types; Rushton and carrier review bear that object-level chain.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–137 · Deamer reconstructs the general taxonomy of relation-image, mark, demark, symbol, and spectator implication. It helps police the inference boundary but does not analyze Strangers on a Train shot by shot.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 51, 53 · Rushton develops five traits through Strangers on a Train: relational third, initiating action, exchange of crimes, series of marks and demarks, and film–spectator relation. Pages 49–50 treat the opening encounter, pp. 50–52 the exchanged crimes, lighter, and glasses, and pp. 52–53 the final proof and spectator trap.

• Figures of Style in Strangers on a Train

  Peter J. Dellolio, “Figures of Style in Strangers on a Train,” open PDF pp. 5–6 · Dellolio analyzes how canted framing, gate bars, the eyeglass reflection, and carousel write the Guy–Bruno parallel into space, and identifies the dying gesture that exposes the lighter on p. 2. The paper uses an Expressionist and psychological framework; the atlas borrows its verifiable shot observations without equating that psychology with Deleuze's relation-image.

• Bilibili · 地老天荒仍未改 · public 01:40:27 single-part repost of Strangers on a Train with hard Chinese and English subtitles; access without login, playback URL, and all three anchors checked, while the platform submission label does not establish authorization

  00:26:30 · The strangulation is not presented in a frontal master shot but as a distorted reflection on the fallen lens. The lens organizes what the spectator sees without representing Miriam's point of view.

▶

Displayed still

01:38:45

Discussion passage

approx. 01:37:55—01:39:08 (01:38:45 still shows the A-to-G lighter exposed in Bruno's opened hand)

Reviewed passage by passage on the 01:40:27 single-part hard-subtitled Bilibili repost BV1SY6fYdEnV. 01:38:45 is the still anchor and 01:37:55—01:39:08 is the atlas's working boundary for the argument. These coordinates bind only this carrier; every other release or cut requires fresh location.

Image

After the carousel runs out of control and collapses, Bruno lies beside the wreckage while Guy, police, and fairground workers gather nearby.

As Bruno is dying, his clenched hand slowly opens. The film cuts to the open palm, where the lighter engraved A to G with crossed tennis rackets lies exposed.

Sound

After the boatman identifies Bruno, Guy tells Turley that Bruno has the lighter and meant to plant it on the island. Bruno denies this and insists that the lighter is still on the island.

Guy asks to go through Bruno's pockets while Bruno is still alive. Turley refuses permission, noting that Bruno says he does not have the lighter.

After Bruno is pronounced dead, Turley picks up the lighter from the already opened palm, asks Guy to identify it, and then confirms that Guy was right.

Ambient noise, rescue instructions, and brief dialogue replace the fairground's earlier cyclical music.

Relation to the concept

The lighter makes the exchanged crime a concrete object of inference for characters, police, and spectator.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 197–205, especially p. 201 · Page 201 defines the Hitchcockian third as relation and uses exchanged crimes to show relation entering action; pp. 203–204 distinguish mark, demark, and symbol in general. The primary text supplies neither the atlas's carrier coordinates nor a shot-by-shot assignment of eyeglasses and lighter to sign types; Rushton and carrier review bear that object-level chain.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–137 · Deamer reconstructs the general taxonomy of relation-image, mark, demark, symbol, and spectator implication. It helps police the inference boundary but does not analyze Strangers on a Train shot by shot.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 51–52 · Rushton develops five traits through Strangers on a Train: relational third, initiating action, exchange of crimes, series of marks and demarks, and film–spectator relation. Pages 49–50 treat the opening encounter, pp. 50–52 the exchanged crimes, lighter, and glasses, and pp. 52–53 the final proof and spectator trap.

• Figures of Style in Strangers on a Train

  Peter J. Dellolio, “Figures of Style in Strangers on a Train,” open PDF p. 2 and pp. 5–6 · Dellolio analyzes how canted framing, gate bars, the eyeglass reflection, and carousel write the Guy–Bruno parallel into space, and identifies the dying gesture that exposes the lighter on p. 2. The paper uses an Expressionist and psychological framework; the atlas borrows its verifiable shot observations without equating that psychology with Deleuze's relation-image.

• Bilibili · 地老天荒仍未改 · public 01:40:27 single-part repost of Strangers on a Train with hard Chinese and English subtitles; access without login, playback URL, and all three anchors checked, while the platform submission label does not establish authorization

  01:38:45 · Bruno meant to leave it at the murder site to frame Guy. As he is dying, his clenched hand slowly opens and the object remains on his body. Together with the boatman's identification and Bruno's immediate denial, it shows that the framing attempt failed.

▶

Displayed still

01:47:05

Discussion passage

approx. 01:45:40—01:47:20 (the passage in which Jeff uses flashbulbs to delay Thorwald's approach containing the 01:47:05 still)

Reviewed passage by passage on the 01:50:54 single-part Bilibili carrier with hard Chinese and English subtitles. 01:47:05 is the still anchor and 01:45:40—01:47:20 is the atlas's working boundary; opening credits and transitions may introduce seconds of drift across masters.

Image

Thorwald enters the dark room and advances on Jeff; Jeff loads flashbulbs and fires them, after which the image shows a red or orange circular afterimage.

Repeated flashes only delay the approach; Thorwald ultimately seizes Jeff and forces him toward the window.

Sound

Around 01:46:00, Thorwald asks Jeff what he wants from him; loading and firing of bulbs, footsteps, and struggle follow.

Relation to the concept

The reversal of observer and object remains an object of thought, but close struggle begins to override that organization.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 200–205, especially pp. 204–205 · Pages 200–202 explain how relation becomes an image-object; pp. 204–205 include the spectator in the relational web and explain Jeff's optical position “because he is in a state of immobility.” The primary text does not analyze the flashbulb struggle shot by shot; the atlas uses it as a countertest between relation-image and direct action.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–135 · Deamer reconstructs the general taxonomy here: mark and demark are compositional signs of natural relations, while symbol is the genetic sign of abstract relations. These pages do not perform the atlas's shot analysis of Rear Window.

• Bilibili · public 01:50:54 single-part repost of Rear Window with hard Chinese and English subtitles, located and reviewed by the atlas; the specific master and restoration were not independently established

  01:47:05 · The flash is both a defensive act and a temporary image of the illuminated man's damaged vision. Relation persists, but direct struggle now occupies it.

• Open the single-part hard-subtitled Rear Window carrier on Bilibili

  Still anchor 01:47:05; watch 01:45:40–01:47:20 and separately record the confrontation after Thorwald enters the dark room, his question, loading, afterimage, recovered vision, and renewed approach instead of treating one coloured frame as the concept. The timecode applies only to the 01:50:54 single-part BV1zvyTYMEqk carrier with hard Chinese and English subtitles; Blu-ray, DVD, and other streaming editions require fresh location.

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Displayed still

01:59:21

Discussion passage

approx. 01:59:09—02:03:08 (the sustained frontal close-up of the barber's final address in Hynkel's uniform containing the 01:59:21 still)

Reviewed passage by passage on the single-part BV1XikCYxEUQ carrier. The API runtime is 7,535,155 ms, the container is 02:05:35.155, and Bilibili's integer metadata displays 02:05:36. 01:59:21 is the still anchor and 01:59:09—02:03:08 the atlas's working passage, not a claim to final cut-by-cut boundaries.

Image

The barber stands before several microphones under Hynkel's identity; the camera moves from podium and military setting to a sustained frontal close-up.

The close-up progressively reduces the ceremonial background so that face, gaze, and duration of address become the main image-event; after the speech the film cuts to Hannah.

The 01:59:21 anchor comes from Bilibili's native preview. The atlas cropped a non-film banner at the top without removing face, uniform, or filmic background information.

Sound

The barber shifts to sustained intelligible English address, audibly contrasting with Hynkel's earlier pseudo-German, noise, and threatening delivery. The atlas does not reproduce the speech at length.

Relation to the concept

Discourse brings the problematic relation into thought while remaining a reflection within the action-image here; it must not be prematurely equated with chapter 12's relation-image.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 10, pp. 171–173 · Pages 172–173 directly use The Great Dictator's final address and intelligible language for the figure of discourse; the atlas is responsible for the 01:59:09–02:03:08 boundary, still, and itemized facts.

• Cinema 2: The Time-Image

  Minnesota 1989 translation, chapter 2, p. 33 · Page 33 retrospectively specifies discourse as the reflection-image's genetic sign; it is not a shot-by-shot transcription of the final address.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 104–119 · Deamer reconstructs the reflection-image as three transformations through which the two action forms criticize one another: attraction, inversion, and discourse, treated respectively on pp. 105–109, 110–114, and 115–119. This taxonomic reconstruction does not classify The Great Dictator's globe ballet or mistaken-identity passage for the atlas.

• Bilibili · BV1XikCYxEUQ · reviewed 02:05:35.155 single-part carrier with Chinese subtitles; the first still comes from the decoded stream, the second and third from native previews, with a non-film banner cropped from the third before proportional letterboxing

  01:59:21 · The uniform still belongs to the dictator's position while the mode of address changes. The frontal close-up gives the spectator the problem of who can speak, to whom, and whether discourse can become action.

• Open the single-part Chinese-subtitled Great Dictator carrier on Bilibili

  Still anchor 01:59:21; watch 01:59:09–02:03:08, comparing podium totality, frontal close-up, duration of address, and the cut to Hannah rather than substituting one famous line for image analysis. The timecode applies only to the 02:05:35.155 BV1XikCYxEUQ container (02:05:36 in Bilibili's integer metadata). The specific restoration or master was not independently established; other editions require fresh location.

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Displayed still

00:00:50

Discussion passage

approx. 00:00:15—00:02:15 (the green title grid bearing the white film title containing the 00:00:50 still)

Reviewed passage by passage on the 02:16:25 single-part dubbed BV1m2XTYuERk carrier. 00:00:50 is the still anchor and 00:00:15—00:02:15 the atlas's working passage, not a claim to final cut-by-cut boundaries. Credits, transitions, and end titles may introduce seconds of drift across masters.

Image

The credits first move diagonal lines, intersections, lettering, and directional arrows along coordinates on a green field; the 00:00:50 anchor has not yet entered live-action city space.

The graphic grid then joins the mullions of a glass curtain wall, which reflects vehicles, before the image moves into streets, building entrances, and crossing crowds.

Thornhill and his secretary enter the urban circulation near the end of the working passage, but the Kaplan misidentification has not yet occurred within it.

Sound

A continuous orchestral score governs the graphic titles and their transition into city images. Character dialogue enters only after the title passage; the atlas does not treat the score's structure by itself as evidence of a relation-image.

Relation to the concept

The titles may make positional relation itself an object of viewing, but grid, moving type, or city montage alone is not a sufficient condition for a mental image.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, p. 202 · Page 202 explains that Hitchcock makes relation itself the object of an image and conceives the film from the outset in relation to spectator response. The primary text does not name the 00:00:15–00:02:15 title grid; the time window, visible facts, and candidate argument are the atlas's responsibility.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 48–53 · Across these pages Rushton develops five general features of Hitchcock's relation-image through Strangers on a Train and Vertigo. North by Northwest enters only as a listed example of wrong identity, the exchange-of-crime tradition, and the crop-duster demark. The book does not supply the atlas's shot-level analysis of the title grid, the attack, or the final match cut.

• Bilibili · BV1m2XTYuERk · reviewed 02:16:25 single-part dubbed carrier; the specific master and restoration were not independently established

  00:00:50 · At 00:00:50 the image is still a graphic title, not a street view. Only afterward does the grid continue into a glass façade, reflected traffic, and urban crowds. That continuity proposes a relational reading without letting one composition prove it.

• Open the single-part dubbed North by Northwest carrier on Bilibili

  Still anchor 00:00:50; watch 00:00:15–00:02:15 and distinguish in order the green graphic grid, glass façade, reflected traffic, street crowds, and character entrance without describing the anchor prematurely as a street view. The timecode applies only to the 02:16:25 single-part dubbed BV1m2XTYuERk carrier. The specific master or restoration was not independently established; other editions require fresh location.

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Displayed still

02:15:59

Discussion passage

approx. 02:15:40—02:16:08 (the ending after the match cut, with the couple embracing in the train berth containing the 02:15:59 still)

Reviewed passage by passage on the 02:16:25 single-part dubbed BV1m2XTYuERk carrier. 02:15:59 is the still anchor and 02:15:40—02:16:08 the atlas's working passage, not a claim to final cut-by-cut boundaries. Credits, transitions, and end titles may introduce seconds of drift across masters.

Image

On the Mount Rushmore cliff, Eve hangs at the rock edge while Thornhill holds her hand and pulls upward.

Before the rescue is shown as a completed climb, the film matches the upward pull into a train berth: Thornhill draws Eve toward him and the couple embrace in the compartment.

The 02:15:59 anchor shows the berth embrace, not the cliff; an exterior train view at the passage's end carries the journey forward.

Sound

After the match cut, the dubbed dialogue addresses Eve with a married form of address, presenting the relation as an accomplished marriage. This record does not invent the unshown wedding process from that line.

Relation to the concept

The spectator must supply the unseen escape, marriage, and travel between cliff and berth, but filling a narrative ellipsis is not the same as relation persisting as an autonomous image-object.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 204–205 · Pages 204–205 discuss the spectator's inclusion in the relational network and Hitchcock's completion of the movement-image at the threshold of the mental image. The primary text does not name the 02:15:40–02:16:08 cliff-to-berth cut; the atlas is responsible for the passage facts and countertest.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 48–53 · Across these pages Rushton develops five general features of Hitchcock's relation-image through Strangers on a Train and Vertigo. North by Northwest enters only as a listed example of wrong identity, the exchange-of-crime tradition, and the crop-duster demark. The book does not supply the atlas's shot-level analysis of the title grid, the attack, or the final match cut.

• Bilibili · BV1m2XTYuERk · reviewed 02:16:25 single-part dubbed carrier; the specific master and restoration were not independently established

  02:15:59 · The anchor has already left the cliff. The preceding rescue pull continues through a match cut into an embrace in the berth. The cut compresses unseen escape, marriage, and travel rather than leaving relation unresolved.

• Open the single-part dubbed North by Northwest carrier on Bilibili

  Still anchor 02:15:59; watch 02:15:40–02:16:08 and separately record the cliffside hand pull, cut point, berth pull and embrace, married form of address, and exterior train view to test whether relation remains unresolved. The timecode applies only to the 02:16:25 single-part dubbed BV1m2XTYuERk carrier. The specific master or restoration was not independently established; other editions require fresh location.

▶

Displayed still

00:04:31

Discussion passage

approx. 00:02:00—00:07:10 (00:04:31 still shows birds filling a wall of cages)

Reviewed passage by passage on the 01:59:24 single-part Bilibili repost. 00:04:31 is the still anchor and 00:02:00—00:07:10 is the atlas's working boundary. Bilibili's official feature page ep291861 runs 01:59:30, so the two carriers cannot share second-level coordinates.

Image

The passage cuts among Melanie, Mitch, cage racks, and individual cages as the two figures change position across the counter and caged birds.

The 00:04:31 anchor shows neither Mitch nor Melanie: stacked cages fill the frame and small birds line the perches.

Sound

Bird calls continue through the conversation. Mitch repeatedly asks about species and care, and Melanie's answers gradually reveal her unfamiliarity with the shop.

In the dialogue, lovebirds names both a species and the gift Mitch wants for his sister.

Relation to the concept

Feigned misrecognition, species judgement, and gift intention become objects of inference for characters and spectator while still serving a clear pursuit action.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 12, pp. 197, 203–204 · Page 197 gives the mental image's three classes of thought-object; pp. 203–204 distinguish mark, demark, and symbol. Page 204 directly names the first attacking gull and the flock as a whole, but it does not analyze the pet shop or playground shot by shot.

• Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images

  David Deamer, Deleuze’s Cinema Books (2016), pp. 132–137 · Deamer reconstructs the operative difference among mark, demark, and symbol: a habitual series, an anomalous term departing from that series, and a concrete term bearing abstract relations. The pages provide criteria rather than classifying these three passages for the atlas.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), p. 50 · Rushton lists Melanie and Mitch's meeting as an initiating event in the relational chain; he does not thereby classify the pet-shop passage shot by shot as a mark.

• Bilibili · public 01:59:24 single-part repost of The Birds, reviewed passage by passage by the atlas; the specific master, grade, and restoration were not independently established

  00:04:31 · Before any attack, birds enter interpersonal exchange as merchandise, classified objects, and a lovebird gift; number alone is not yet a mark.