Pure optical / sound situation

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Displayed still

00:27:50

Discussion passage

00:27:41 - 00:28:24

Frame-checked against the single-part Bilibili repost stream BV1hP4y1k78i: the page API reports 4,388 seconds and the retrieved qn16 media runs 4,387.37 seconds. Bilibili supplies no subtitle track; audible facts record only clearly discernible German speech, music, and ambient sound in the image sequence.

Image

Edmund carries a case of records through the ruins while soldiers, visitors, and children move among broken walls.

The facade, monumental steps, and empty doorways repeatedly reduce the figures to small bodies within the frame.

Sound

A portable gramophone plays a German political speech with an amplified, archival timbre; brief location conversation is also audible.

Relation to the concept

Test whether the recording exceeds locational explanation and forms an autonomous auditory layer beside the ruin.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: Preface, p. xi; ch. 1, p. 2. 2004 Simplified Chinese edition: ch. 1, p. 3. · Brief primary-text mention: Deleuze uses the child in Germany Year Zero to connect motor helplessness with a greater capacity to see and hear. Preface p. x and the chapter's following passages are adjacent conceptual context, not direct pages on the film; the scene windows, facts, and criteria are this atlas's shot analysis.

• Bilibili · La-Jeunesse- · public repost page

  00:27:50 · A recorded political voice meets the ruined Chancellery; the source of the voice and visible history are separated. Bilibili timecode 00:27:50.

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Displayed still

01:12:18

Discussion passage

01:05:01 - 01:12:44

Frame-checked against the single-part Bilibili repost stream BV1hP4y1k78i: the page API reports 4,388 seconds and the retrieved qn16 media runs 4,387.37 seconds. Bilibili supplies no subtitle track; audible facts record only clearly discernible German speech, music, and ambient sound in the image sequence.

Image

Edmund crosses streets and broken walls alone, pauses outside a church, and enters a building without intact walls.

He watches children playing, vehicles, and the street below, repeatedly touches debris and architectural fragments; after climbing upward, he falls from the building, and a woman in the street approaches his body.

Sound

The long passage is formed mainly by sustained orchestral music, traffic, distant children's voices, and urban ambience; Edmund speaks almost no dialogue.

Relation to the concept

Urban sound and ruined images cease to be action cues and become durations that must be endured.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: Preface, p. xi; ch. 1, p. 2. 2004 Simplified Chinese edition: ch. 1, p. 3. · Brief primary-text mention: Deleuze uses the child in Germany Year Zero to connect motor helplessness with a greater capacity to see and hear. Preface p. x and the chapter's following passages are adjacent conceptual context, not direct pages on the film; the scene windows, facts, and criteria are this atlas's shot analysis.

• Bilibili · La-Jeunesse- · public repost page

  01:12:18 · The long wandering turns streets, church, ruined buildings, traffic, and children's play from usable action-space into a city layer that must be watched. Bilibili timecode 01:12:18.

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Displayed still

00:30:25

Discussion passage

00:27:27 - 00:31:09

Frame-checked against the single-part Bilibili repost stream BV1h5MVzfEdW: the page API reports 5,141 seconds, while the retrieved qn16 media runs 5,140.78 seconds at 492×360. Player v2 supplies no usable subtitle track; English dialogue sense was aligned by scene content with an English SDH subtitle file from the Criterion Blu-ray. Every timecode follows the Bilibili carrier.

Image

Katherine follows a guide through the galleries as dancers, a satyr, the drunken faun, imperial heads, and monumental nudes successively occupy the image.

Close views of statues alternate with close views of Katherine's face; she stops, looks up, and looks back without touching the objects.

Sound

The guide continuously names works, excavation sites, and biographical anecdotes in English; his voice repeatedly carries over close views of the statues.

Footsteps and gallery reverberation remain beneath the commentary, with no score closing Katherine's responses into a single emotion.

Relation to the concept

The statues' scale, surface, and gaze exceed the practical use of the commentary.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2 (listed as The Lonely Woman [Viaggio in Italia]). · Brief primary-text mention: on this page Deleuze includes Katherine among female tourists struck by unfolding images and visual clichés; the fuller argument for the turn from agent to seer comes from the surrounding chapter. This site analyzes each scene window, audio-visual fact, and criterion shot by shot.

• Bilibili · Steppenwolffff · public repost page

  00:30:25 · Ancient bodies overtake the tourist itinerary through scale, weight, and serial cutting. Bilibili timecode 00:30:25.

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Displayed still

00:41:40

Discussion passage

00:40:22 - 00:41:57

Frame-checked against the single-part Bilibili repost stream BV1h5MVzfEdW: the page API reports 5,141 seconds, while the retrieved qn16 media runs 5,140.78 seconds at 492×360. Player v2 supplies no usable subtitle track; English dialogue sense was aligned by scene content with an English SDH subtitle file from the Criterion Blu-ray. Every timecode follows the Bilibili carrier.

Image

Katherine drives alone; frontal close-ups of her at the wheel alternate with moving views of pedestrians along the street.

Several visibly pregnant women appear in succession, and the film repeatedly cuts back to Katherine's eyes and face.

Sound

Engine and street noise continue while Katherine voices her anger toward Alex in English; the speech does not instruct her to stop or change course.

Relation to the concept

The moving street ceases to be navigational background and becomes an optical series driving cannot absorb.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2 (listed as The Lonely Woman [Viaggio in Italia]). · Brief primary-text mention: on this page Deleuze includes Katherine among female tourists struck by unfolding images and visual clichés; the fuller argument for the turn from agent to seer comes from the surrounding chapter. This site analyzes each scene window, audio-visual fact, and criterion shot by shot.

• Bilibili · Steppenwolffff · public repost page

  00:41:40 · The car continues forward while pregnant bodies repeatedly interrupt Katherine's monologue on her marriage. Bilibili timecode 00:41:40.

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Displayed still

00:43:20

Discussion passage

00:42:00 - 00:45:08

Frame-checked against the single-part Bilibili repost stream BV1h5MVzfEdW: the page API reports 5,141 seconds, while the retrieved qn16 media runs 5,140.78 seconds at 492×360. Player v2 supplies no usable subtitle track; English dialogue sense was aligned by scene content with an English SDH subtitle file from the Criterion Blu-ray. Every timecode follows the Bilibili carrier.

Image

A guide leads Katherine into a high, narrowing trapezoidal passage; their bodies diminish in depth while stone walls dominate the frame.

The film cuts among the empty passage, the guide, and Katherine's face; she repeatedly stops instead of following closely.

Sound

The guide asks her to listen to the echo and calls out; the call returns from the stone chamber.

The guide explains that lovers once came to ask the course of their love; Katherine then speaks Homer's verse, while footsteps, commentary, and echo remain distinct.

Relation to the concept

Empty passage and echo acquire optical and auditory density beyond the tour's function.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2 (listed as The Lonely Woman [Viaggio in Italia]). · Brief primary-text mention: on this page Deleuze includes Katherine among female tourists struck by unfolding images and visual clichés; the fuller argument for the turn from agent to seer comes from the surrounding chapter. This site analyzes each scene window, audio-visual fact, and criterion shot by shot.

• Bilibili · Steppenwolffff · public repost page

  00:43:20 · The cave places the guide's voice, echo, prophetic legend, and Katherine's marital question within one acoustic field. Bilibili timecode 00:43:20.

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Displayed still

00:52:00

Discussion passage

00:49:27 - 00:52:38

Frame-checked against the single-part Bilibili repost stream BV1h5MVzfEdW: the page API reports 5,141 seconds, while the retrieved qn16 media runs 5,140.78 seconds at 492×360. Player v2 supplies no usable subtitle track; English dialogue sense was aligned by scene content with an English SDH subtitle file from the Criterion Blu-ray. Every timecode follows the Bilibili carrier.

Image

Katherine follows a guide into the crater and bends toward fissures; the guide crouches, lights a flame, and approaches a vent.

Steam repeatedly thickens, first hiding the ground and then reducing guide and Katherine to outlines before thinning again.

Sound

The guide explains the last eruption, the thin crust, boiling material, and a claimed ionisation effect in English; venting and wind continue through the commentary.

Relation to the concept

Venting sound and obscured image form an audio-visual situation that cannot be returned to the tour's action.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2 (listed as The Lonely Woman [Viaggio in Italia]). · Brief primary-text mention: on this page Deleuze includes Katherine among female tourists struck by unfolding images and visual clichés; the fuller argument for the turn from agent to seer comes from the surrounding chapter. This site analyzes each scene window, audio-visual fact, and criterion shot by shot.

• Bilibili · Steppenwolffff · public repost page

  00:52:00 · The explanation continues while steam repeatedly withdraws the visibility of ground and figures. Bilibili timecode 00:52:00.

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Displayed still

01:07:32

Discussion passage

01:07:10 - 01:08:26

Frame-checked against the single-part Bilibili repost stream BV1h5MVzfEdW: the page API reports 5,141 seconds, while the retrieved qn16 media runs 5,140.78 seconds at 492×360. Player v2 supplies no usable subtitle track; English dialogue sense was aligned by scene content with an English SDH subtitle file from the Criterion Blu-ray. Every timecode follows the Bilibili carrier.

Image

Katherine drives with Natalia beside her; their close views alternate with pregnant women, children, a laden donkey, and pedestrians along the street.

The same type of body appears more than once, and every street view returns to looking and conversation inside the car.

Sound

Natalia remarks on the many expectant mothers in Naples and counts the pregnant women in view, then asks whether Alex likes children.

Katherine answers that she does not know what Alex is thinking, while engine and street noise remain continuous.

Relation to the concept

The street series and spoken count intensify one another without being exhausted by the task of driving.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2 (listed as The Lonely Woman [Viaggio in Italia]). · Brief primary-text mention: on this page Deleuze includes Katherine among female tourists struck by unfolding images and visual clichés; the fuller argument for the turn from agent to seer comes from the surrounding chapter. This site analyzes each scene window, audio-visual fact, and criterion shot by shot.

• Bilibili · Steppenwolffff · public repost page

  01:07:32 · The pregnant figures Katherine earlier saw alone are now counted into an audible series by Natalia beside her. Bilibili timecode 01:07:32.

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Displayed still

01:09:40

Discussion passage

01:08:34 - 01:11:24

Frame-checked against the single-part Bilibili repost stream BV1h5MVzfEdW: the page API reports 5,141 seconds, while the retrieved qn16 media runs 5,140.78 seconds at 492×360. Player v2 supplies no usable subtitle track; English dialogue sense was aligned by scene content with an English SDH subtitle file from the Criterion Blu-ray. Every timecode follows the Bilibili carrier.

Image

Katherine and Natalia enter a dark cavern where skulls, long bones, devotional boxes, flowers, and candles line the walls.

The film cuts among rows of remains, the two women's bodies, and the altar deep inside; Katherine repeatedly stops to look.

Sound

Footsteps, low prayer, and cavern reverberation reduce the volume of ordinary conversation.

Natalia says that her brother died in Greece during the war and that she comes here to pray for him; she then voices her wish for a child.

Relation to the concept

Rows of remains, low prayer, and reverberation retain distinct densities while interrupting ordinary action together.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2 (listed as The Lonely Woman [Viaggio in Italia]). · Brief primary-text mention: on this page Deleuze includes Katherine among female tourists struck by unfolding images and visual clichés; the fuller argument for the turn from agent to seer comes from the surrounding chapter. This site analyzes each scene window, audio-visual fact, and criterion shot by shot.

• Bilibili · Steppenwolffff · public repost page

  01:09:40 · Anonymous remains, personal names, wartime memory, and a prayer for a child enter the same underground space. Bilibili timecode 01:09:40.

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Displayed still

01:15:10

Discussion passage

01:13:22 - 01:15:28

Frame-checked against the single-part Bilibili repost stream BV1h5MVzfEdW: the page API reports 5,141 seconds, while the retrieved qn16 media runs 5,140.78 seconds at 492×360. Player v2 supplies no usable subtitle track; English dialogue sense was aligned by scene content with an English SDH subtitle file from the Criterion Blu-ray. Every timecode follows the Bilibili carrier.

Image

Workers use trowels, brushes, and hands to remove volcanic material; pale plaster gradually exposes a head, teeth, arms, and legs against dark soil.

Two adjacent bodies are identified as a man and a woman; the film alternates among the remains and Alex's and Katherine's responses.

Sound

The on-site commentary explains how plaster fills the cavity left after a body disintegrates and successively identifies legs, arms, skull, and teeth.

Tools continue scraping soil; after the observers suggest the two may have been husband and wife, Katherine says she cannot bear it and asks to leave.

Relation to the concept

The gradually exposed bodies and scraping sounds exceed archaeological explanation and form direct audio-visual pressure.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2 (listed as The Lonely Woman [Viaggio in Italia]). · Brief primary-text mention: on this page Deleuze includes Katherine among female tourists struck by unfolding images and visual clichés; the fuller argument for the turn from agent to seer comes from the surrounding chapter. This site analyzes each scene window, audio-visual fact, and criterion shot by shot.

• Bilibili · Steppenwolffff · public repost page

  01:15:10 · The technical operation successfully restores bodily contours while depriving the watching couple of their capacity to keep bearing the sight. Bilibili timecode 01:15:10.

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Displayed still

01:24:50

Discussion passage

01:21:18 - 01:25:28

Frame-checked against the single-part Bilibili repost stream BV1h5MVzfEdW: the page API reports 5,141 seconds, while the retrieved qn16 media runs 5,140.78 seconds at 492×360. Player v2 supplies no usable subtitle track; English dialogue sense was aligned by scene content with an English SDH subtitle file from the Criterion Blu-ray. Every timecode follows the Bilibili carrier.

Image

A religious procession stops the car; after the couple get out, ranks, band, sacred image, and spectators keep crossing the frame around them.

The moving crowd carries Katherine away from Alex; he passes through the crowd, finds her, and they grasp and embrace one another.

Sound

Band music, bells, prayer, cheering, and repeated cries of 'miracle' fill the street.

Katherine calls Alex's name from within the crowd; after they reunite she says she does not want to lose him, while their voices remain surrounded by the collective sound field.

Relation to the concept

The procession's audio-visual density first overwhelms private dialogue, then opens a place for calling and reunion.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2 (listed as The Lonely Woman [Viaggio in Italia]). · Brief primary-text mention: on this page Deleuze includes Katherine among female tourists struck by unfolding images and visual clichés; the fuller argument for the turn from agent to seer comes from the surrounding chapter. This site analyzes each scene window, audio-visual fact, and criterion shot by shot.

• Bilibili · Steppenwolffff · public repost page

  01:24:50 · Reconciliation is not the couple's next planned step; it emerges after the procession interrupts, separates, and makes them call out. Bilibili timecode 01:24:50.

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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 vase shots do not translate into cues for action. Verified shot duration and moving bamboo shadows support the pure optical situation. The snoring and music reported by Parks still require verification against this carrier's soundtrack and cannot independently establish a sonsign here.

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

01:08:47

Discussion passage

01:08:36 - 01:09:10

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

Most of the frame remains dark; the soldier's face, hand, and nearby vines appear only intermittently.

He stops, raises a handheld radio to his mouth, and then remains listening in place.

Sound

He calls headquarters twice; no reply from headquarters is heard within the segment.

Forest insects continue to surround the brief human call.

Relation to the concept

Test whether forest sound exceeds orientation and action-cueing to acquire a duration of its own.

Sources and further reading

• Bilibili · 冰山阴影_ · public repost page

  01:08:47 · The communication device sends a call but does not turn the forest back into a mappable action-space. Bilibili timecode 01:08:47.

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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

Occlusion prevents immediate recognition of face and gaze-object; the intertitle then recomposes what was seen.

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

01:29:20

Discussion passage

01:29:05 - 01:30:16

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

The soldier looks up after hearing a call; the film cuts to a monkey on a branch and back to the soldier.

Thai subtitles appear across the shot/reverse-shot, and editing attributes the speech to the monkey's shot.

Sound

A voice calls 'soldier' and then describes the tiger as a shadow, pursuer, and companion to its prey.

The speech offers two paths: kill the tiger to release it from the ghost world, or let the tiger devour the soldier so that he enters the tiger's world.

Relation to the concept

Monkey calls, subtitles, and shot/reverse-shot organize animal sound as speech that changes the hunt.

Sources and further reading

• Bilibili · 冰山阴影_ · public repost page

  01:29:20 · Editing joins the monkey in the tree, the soldier's upward look, and a spoken warning. Bilibili timecode 01:29:20.

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Displayed still

01:45:12

Discussion passage

01:44:42 - 01:46:02

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

Flashlight reveals the tiger's face; the film cuts among the tiger frontally, the soldier's face, and his hand holding the light.

The soldier does not fire and the tiger does not spring; both remain still and look toward one another.

Sound

Forest sound and low tiger vocalization continue; a first-person voice then enters in conjunction with the tiger's shots.

The voice successively names self, mother, father, fear, and sadness.

Relation to the concept

Gaze and voice cease to function merely as cues for shooting.

Sources and further reading

• Bilibili · 冰山阴影_ · public repost page

  01:45:12 · Alternating close views suspend the hunt between the frontal gazes of tiger and soldier. Bilibili timecode 01:45:12.

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Displayed still

01:48:40

Discussion passage

01:47:52 - 01:49:17

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

The film alternates between the soldier's frontal close-up and an image of a tiger extending a long tongue toward a kneeling human figure; the soldier keeps staring.

At the segment's end, the film leaves the face for the dark canopy.

Sound

A voice addresses the 'monster' and gives over spirit, flesh, and memories.

The speech says that every drop of blood sings 'our song' and ends by asking, 'Do you hear it?' Forest sound continues.

Relation to the concept

The final question asks for a sound-relation that cannot be exhausted by the action of the hunt.

Sources and further reading

• Bilibili · 冰山阴影_ · public repost page

  01:48:40 · The soldier's close-up, an image of a tiger extending a long tongue toward a kneeling human figure, and forest sound join body, memory, and 'our song.' Bilibili timecode 01:48:40.

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Displayed still

01:00:00

Discussion passage

approx. 00:59:45–01:00:35 (still anchor 01:00:00)

The 01:00:00 still and its surrounding viewing interval were checked continuously on the single-part Bilibili repost BV15x4y1m7fS. This range provides reproducible coordinates for machinery, passage, bodily position, and sound; it does not claim the exact beginning and end of the complete factory passage. Every other release or cut requires fresh location.

Image

An enormous cylindrical machine spans the upper frame; pipes, supports, and its body divide the background into dense industrial layers.

Irene and the worker stand in a narrow passage beneath the machine; Irene turns sideways and leans toward the other woman, who faces her.

Sound

Continuous mechanical noise and the women's dialogue occur together; their bodies remain close while they speak.

Relation to the concept

The visual scale of the machinery and its unrelenting roar acquire force in distinct registers; the atlas records each strand before reading them together as an emerging pure optical-sound situation.

Sources and further reading

• Cinema 2: The Time-Image

  Minnesota 1989 translation: ch. 1, p. 2; ch. 3, pp. 45–46 · Chapter 1 places Europa '51 in the postwar lineage of pure optical-sound situations and the seer. Chapter 3 analyses the factory as an audio-visual ‘abstraction’: a few features send the same object through different circuits and open Irene's mental vision of prisoners rather than reviving a recollection. The account of seeing more when practical recognition fails comes from Marrati. The primary text supplies neither a coordinate for this Bilibili carrier nor a shot-by-shot description of this still; the atlas separately verifies the scene window and audio-visual facts.

• Gilles Deleuze: Cinema and Philosophy

  Paola Marrati, Gilles Deleuze: Cinema and Philosophy, English translation (2008), pp. 58–60 · Marrati uses Irene's factory experience to distinguish practical recognition from seeing. The character does not first acquire knowledge about the factory and then act on it; rather, the failure of habitual recognition lets things appear with a force not exhausted by action. This interpretation supports the scene's conceptual boundary without replacing verification of the specific carrier.

• Cinema After Deleuze

  Richard Rushton, Cinema After Deleuze (2012), pp. 63–65 · Rushton interprets the factory vision as ‘pure seeing’ released from established habits of looking and places Irene's break with middle-class conventions within the narrative process that ends in social exclusion and psychiatric confinement. He does not claim that the institution directly diagnoses this one factory vision, nor does he provide the time coordinate of the atlas still.

• Bilibili · 久久莫相忘_ · single-part complete film Europa '51 · repost

  01:00:00 · Cylindrical machinery occupies the upper frame while Irene turns and leans toward the worker below; mechanical noise and dialogue coexist in the same shop-floor sound field. Scale, sound, and bodily distance can each be checked at this moment. Bilibili timecode 01:00:00.

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Displayed still

00:35:30

Feature time

00:35:30

Stills and jumps use the user-supplied Bilibili carrier. The feature occupies 00:00:00–02:31:07; roughly 1 hour 43 minutes of unrelated tail padding follows.

Image

Headlights illuminate only a small patch of slope. Route words—old bridge, dam, opposite hill—return while digging repeatedly proves futile.

Relation to the concept

Landscape no longer offers readable cues for action but exposes gaps among memory, language, and space. This is what detaches the optical situation from the sensory-motor circuit.

Sources and further reading

• Cinema 2, Chapter 1

  Pure optical/sound situations and the neorealist turn

• Open Death-Images issue

  Further research on death, witness, and image responsibility

• Official Cannes film archive

  Premiere, credits, and edition coordinates

• Cinema Guild press kit

  Director statements, credits, and production context

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Displayed still

02:24:20

Feature time

02:24:20

Stills and jumps use the user-supplied Bilibili carrier. The feature occupies 00:00:00–02:31:07; roughly 1 hour 43 minutes of unrelated tail padding follows.

Image

The assistant finds soil in the trachea and lungs and asks whether the victim was buried alive; after pausing, the doctor dictates ‘no abnormality observed.’

Relation to the concept

Perception has occurred, yet institutional action deletes it. The time-image does not automatically deliver truth; it leaves the ethical interval among seeing, judging, and recording to the viewer.

Sources and further reading

• Cinema 2, Chapter 1

  Pure optical/sound situations and the neorealist turn

• Open Death-Images issue

  Further research on death, witness, and image responsibility

• Official Cannes film archive

  Premiere, credits, and edition coordinates

• Cinema Guild press kit

  Director statements, credits, and production context

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Displayed still

02:00:30

Feature time

00:00:35

The user carrier runs 04:50:33. The target film occupies approximately 01:59:55–03:50:00, with unrelated padding on both sides; its first narrative shot appears around 02:00:25. Storyboard review places the celebrated Dangmai take at roughly 02:55:35–03:36:40 on the carrier (about 41:05). The atlas displays both feature and carrier axes.

Image

Clinic, television report about a ‘wild man,’ walls, patients, and Chen Sheng’s daily work share one cramped space; local rumour and practical affairs are not separated into different worlds.

Sound

Broadcast sound, clinic conversation, ambient noise, and poetry originate differently yet overlap in one present; sound first perforates the image with several temporal entrances.

Relation to the concept

A pure optical and sound situation does not require all action to cease. Perception already exceeds current tasks such as treatment or search, and the place begins to bear a past not absorbed by action.

Sources and further reading

• From temporal directions to actual / virtual

  Test exchange instead of treating the reversed clock as a single symbol

• Cinema 2, Chapter 5

  Sheets of past, peaks of present, and searches through memory

• MCLC review of Kaili Blues

  Verify the continuous route through motorcycle, pickup, ferry, barbershop, and concert

• Minnesota: distinguishing the two long takes

  Avoid confusing the title passage near minute 29 with the forty-one-minute Dangmai take

• Compare Long Day’s Journey into Night

  Move from relayed transport to a 3D viewing regime and continuous dream-space

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Displayed still

01:52:10

Feature time

01:52:10

All three stills and feature times use Bilibili’s official PGC ep378235 (02:27:00; internal BVID BV1g5411V7eS). Continuous audio facts for Club Silencio and the blue box were checked second by second against playable excerpts; excerpt time axes are not presented as the official feature axis.

Image

Rebekah Del Rio collapses and is carried away while microphone, red curtain, and audience remain. Betty and Rita already know ‘there is no band,’ yet their bodies continue to bear the performance.

Sound

The recording of ‘Llorando’ continues for about twenty seconds after the visible body falls. Voice loses its present source but not its intensity; exposing synchronization does not cancel the tears.

Relation to the concept

Voice and body become relatively autonomous series. The sonsign asks how sound moves, attaches, and acts instead of ending judgment with ‘real voice / false voice.’

Sources and further reading

• Crystal essay: move beyond dream / reality

  Check actual face, virtual face, exchange point, and consequence

• Pisters: The Neuro-Image guide

  Connect identity change to brain, screen, and powers of the false

• Criterion: Lynch on audition and Silencio

  Verify two treatments of the same material and the recording’s source

• Mactaggart: hearing loss and Club Silencio

  Peer-reviewed study of audition, synchronization, and voice after collapse

• BFI: a cosmology beyond dream / reality

  Keep the two-part solution as one reading rather than the final word

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Displayed still

00:06:00

Feature time

00:06:00

Carrier part

1

The user page aggregates two editions of the same film into 04:13:13. Part 1 is the complete 02:06:02 feature; parts 2–11 are a ten-part duplicate. All three stills and jumps are locked to part 1, and the aggregate page runtime is excluded from the film time axis.

Image

Lamp, fan, table, doorframe, and blinds repeatedly separate Vittoria and Riccardo. She walks, turns away, and touches objects without organizing a decisive conversation.

Sound

Fan hum, heels, electric razor, and long silences occupy the soundtrack. Language no longer governs the scene; machine and gait keep time for the relation.

Relation to the concept

The sensory-motor schema loosens within ordinary gestures: seeing, hearing, and touching continue but cannot extend into an action that completes the breakup. A pure optical and sound situation begins in this suspension.

Sources and further reading

• Cinema 2, Chapter 1

  Broken action, pure optical/sound situations, and empty periods

• Cinema 2, Chapter 9

  Readable relations after sound becomes an autonomous series

• Rushton: L’eclisse, pp.65–71

  Unpeopled space, relational residues, and a world not filled by inhabitants

• BFI: audiovisual reading of the seven-minute ending

  Verify lights, objects, and sounds continuing after character exit

• Senses of Cinema: objects and fractured desire

  Return opening composition and object-rhythm to Antonioni’s form

• Compare Goodbye, Dragon Inn

  Move from an unoccupied meeting place to a cinema persisting after dispersal

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Displayed still

00:23:11

Feature time

00:23:11

Carrier part

1

The user page aggregates two editions of the same film into 04:13:13. Part 1 is the complete 02:06:02 feature; parts 2–11 are a ten-part duplicate. All three stills and jumps are locked to part 1, and the aggregate page runtime is excluded from the film time axis.

Image

Calls, gestures, boards, telephones, and crowded bodies between columns suddenly stop and rearrange; the prior trading actions resume immediately when commemoration ends.

Sound

Relative silence on this carrier lasts only about twenty seconds, approximately 00:23:12.5–00:23:32.4. Telephones and room resonance never fully vanish, and the noise restarts.

Relation to the concept

Sound exposes a systemic rhythm beyond individual intention: death does not reorganize the action-chain but is absorbed as a brief pause. The sonsign lies in ‘noise–incomplete silence–noise returning,’ not merely in a loud market.

Sources and further reading

• Cinema 2, Chapter 1

  Broken action, pure optical/sound situations, and empty periods

• Cinema 2, Chapter 9

  Readable relations after sound becomes an autonomous series

• Rushton: L’eclisse, pp.65–71

  Unpeopled space, relational residues, and a world not filled by inhabitants

• BFI: audiovisual reading of the seven-minute ending

  Verify lights, objects, and sounds continuing after character exit

• Senses of Cinema: objects and fractured desire

  Return opening composition and object-rhythm to Antonioni’s form

• Compare Goodbye, Dragon Inn

  Move from an unoccupied meeting place to a cinema persisting after dispersal