Sensory-motor schema

▶

Displayed still

00:02:35

Discussion passage

00:02:05 - 00:02:54

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

The camera first pans across damaged buildings and the city skyline, then cuts into an overgrown cemetery.

People dig and carry materials among graves, markers, and rubble; a pale board crosses the foreground.

Sound

The opening orchestral music continues over the city views and the first images of labour in the cemetery.

Relation to the concept

Test whether perception still extends naturally into action adequate to transform the situation.

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

  00:02:35 · After the title, the city appears not as a coherent background for action but as cemetery, rubble, and survival labour layered together. Bilibili timecode 00:02:35.

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Displayed still

00:24:40

Discussion passage

00:23:58 - 00:26:11

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

The teacher keeps Edmund in front of him, repeatedly grips his shoulder and neck, and speaks at close range.

Edmund remains nearly still while the teacher's hand and face dominate the frame.

Sound

The teacher asks why Edmund is out of school and why the family lacks food, then gives him a Hitler speech record and player to sell, telling him to claim the record as his own if questioned.

Relation to the concept

Test whether perception still extends naturally into action adequate to transform the situation.

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

  00:24:40 · The former teacher gives Edmund a record of a Hitler speech and a player to sell at the ruined Chancellery. Bilibili timecode 00:24:40.

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Displayed still

00:52:15

Discussion passage

00:50:11 - 00:52:42

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 moves between table and bed, places powder in a drink, and the father later drinks from the glass.

As the father drinks, Edmund stands beside the bed with his gaze fixed on the glass and his father.

Sound

Low German conversation is heard in the room, along with small sounds of glassware and tableware; music supplies no triumphant closure to the act.

Relation to the concept

Test whether perception still extends naturally into action adequate to transform the situation.

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

  00:52:15 · After an act mistaken for a solution to the family's hardship, the child can only watch his father drink from the glass. Bilibili timecode 00:52:15.

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Displayed still

01:03:18

Discussion passage

01:02:58 - 01:04:11

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

Neatly dressed in a dark jacket, Edmund stands before the teacher, first lowering his head and then retreating under the teacher's agitated gestures and speech.

The teacher drives him toward the open balcony doors; Edmund curls beside the bright exit and then leaves.

Sound

The German argument sharply intensifies as the teacher rebukes him continuously; Edmund's voice is quieter and brief.

Relation to the concept

Test whether perception still extends naturally into action adequate to transform the situation.

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

  01:03:18 · The child brings the completed act back to its source in speech but receives no explanation capable of bearing its consequence. Bilibili timecode 01:03:18.

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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

Test whether perception still extends naturally into action adequate to transform the situation.

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

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

Technical action succeeds while personal action fails; this difference fixes the schema's rupture within the scene.

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

Stoppage, separation, and search rearrange perception and action, while the outcome is triggered by a collective event.

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

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

Pull, rescue, and embrace compress danger and successful response into a continuous gesture, showing clearly how sensory-motor action regains the ending.

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.

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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

Local responses remain effective while perception is not exhausted by them, a more exact claim than saying simply that the character cannot act.

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

00:51:20

Discussion passage

night stampede passage containing the 00:51:20 still

The 00:51:20 still anchor is verified on the 02:13:26 single-part Bilibili edition. The passage is located by that anchor; its endpoints still require shot-level delimitation.

Image

The herd crosses the low-lit frame laterally; speed, occlusion, and density weaken individual outlines, while the rider at right occupies another vertical level.

A single frame establishes density and direction of movement, not the cause of the stampede, the efficacy of commands, or the passage's full causality.

Sound

Disturbance, hoofbeats, cries, and music have not yet been transcribed by track; claims about sonic propagation remain questions for review.

Relation to the concept

The passage can test how perception, delay, and response are distributed across humans, horses, cattle, and night milieu; audio-visual causality still requires itemized review.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 10, p. 165 · Deleuze names Red River in the chapter on the small form and Hawksian functionalism. The three-shot segmentation and conceptual relations below are the atlas's responsibility, not a shot-by-shot paraphrase of p. 165.

• Bilibili · user-supplied complete single-part edition of Red River

  00:51:20 · Herd, darkness, and rider form a distributed movement in which no single command equals the whole action circuit.

• Open the complete Red River carrier on Bilibili

  The direct still anchor is 00:51:20; begin before the disturbance to review the order of propagation and response.

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Displayed still

01:14:00

Discussion passage

约 01:13:30—01:15:20 (stagecoach chase and coordinated-defence passage containing the 01:14:00 still)

Reviewed passage by passage on the single-part Bilibili carrier with a decoded-stream duration of 01:35:33. 01:14:00 is the still anchor and 约 01:13:30—01:15:20 is the atlas's working boundary for analysis; cut points may shift slightly across masters.

Image

The coach remains in rapid motion; driving, balancing, shooting, and approaching the target are carried by different figures and positions.

Editing cuts among coach body, horses, pursuers, and passengers' local acts; one anchor does not contain the complete causal chain of attack and defence.

Sound

Gunfire, hoofbeats, wheels, cries, and music coexist, but their sequence and sources have not been itemized; the atlas does not substitute sonic intensity for analysis of mechanism.

Relation to the concept

The montage can trace how threat is perceived and local acts are linked; because audio-visual order has not been itemized, the relation remains a candidate.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 9, pp. 141–152, especially p. 146 · Pages 141–142 formulate S–A–S′. Page 146 directly uses Stagecoach's alternation of interiors and exteriors to describe the Encompasser and presents S–A–S, the restoration of a circular order, as a first approximation. Page 147 then distinguishes Ford's spiral: the situation reached differs from the one left, producing S–A–S′. Page 150 criticizes the reduction of social causes to individual confrontation, while pp. 151–152 discuss how global mission, local acts, and decisive action redistribute forces. Deleuze does not assign the atlas's three passages one by one; shot boundaries, visible facts, and candidate or countertest relations remain the atlas's responsibility.

• Bilibili · public single-part repost of Stagecoach located and reviewed by the atlas; the specific master and restoration could not be independently established

  01:14:00 · Reins, horses, shooters, coach body, and pursuers divide action into interdependent local tasks.

• Open the single-part Stagecoach carrier on Bilibili

  Still anchor 01:14:00; watch 01:13:30–01:15:20 and record who sees, who responds, and where the result lands at each cut.

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Displayed still

00:09:25

Discussion passage

约 00:07:20—00:09:38 (flower seller's misrecognition of the customer's identity containing the 00:09:25 still)

Reviewed passage by passage on the single-part Bilibili carrier with a decoded-stream duration of 01:26:47. 00:09:25 is the still anchor and 约 00:07:20—00:09:38 is the atlas's working boundary. Approximately 25.8 seconds of black at the end are excluded from narrative analysis.

Image

The flower seller sits by the street selling flowers; after a flower falls, she searches with hand and cane, and the Tramp retrieves it and notices that she is blind.

The Tramp then walks away and looks back; a car departs from near them while the flower seller retains the inference that her customer is wealthy.

Sound

The precise way car-door sounds participate in the mistake still requires sound-by-sound review on this master, including attribution of the first and second closures; no unverified sound source is treated as settled causality.

Relation to the concept

The scene tests how partial perception leads to a mistaken yet effective response; sound sources and act order must first be clarified.

Sources and further reading

• Cinema 1: The Movement-Image

  Minnesota 1986 translation, chapter 10, pp. 160–171, especially pp. 169–171 · From p. 160 Deleuze defines A–S–A′ and its indices. Page 169 directly names City Lights as an example of a 'personality split of a pivotal character,' but does not assign the drunk or sober passages or a rule of recognition shot by shot. The atlas tests the paired drunken welcome and sober rejection as its concrete filmic realization. The scene directly named on p. 171 is the thread-unravelling passage around 00:52:32–00:53:54, not the final tactile recognition. Boundaries and theoretical relations for the opening mistake, sober rejection, and final recognition remain the atlas's responsibility.

• Bilibili · public single-part repost of City Lights located and reviewed by the atlas; the specific score, restoration, and master could not be independently established

  00:09:25 · Flower, money, an approaching figure, and a departing car are visible across the passage; whether door sounds also enter the mistake still requires sound-by-sound review.

• Open the single-part City Lights carrier on Bilibili

  Still anchor 00:09:25; watch 00:07:20–00:09:38 and separately record the order of flower, money, footsteps, door, and departing car.

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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

The cast separates perception from direct action without thereby making the film a time-image; action is delegated to others and optical apparatuses.

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

01:47:05

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 flashbulb's stimulus–delay–renewed approach has clear sensory-motor causality and countertests an overextended relation-image classification.

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.

▶

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

Urban circulation remains composed of walking, traffic, and professional action; the passage shows no breakdown of the sensory-motor circuit.

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.

▶

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

Once anomaly becomes attack, the scene rapidly resumes the sensory-motor causality of stimulus, dodge, flight, and collision; this sets the boundary of the demark reading.

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 strike briefly interrupts the crossing, but landing, treatment, and inquiry restore local responses; one interruption does not by itself make a time-image.

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

Delayed perception produces relational pressure, after which the children still run under instruction. The scene pushes action toward its limit without wholly cancelling the chain of response.

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

Following remains goal-directed action. The passage shows relation governing action, not a completed rupture of the sensory-motor schema.

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

01:55:20

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

Scottie's remaking action obtains visible results in clothing and body, countertesting any automatic account of the green light as a sensory-motor rupture.

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

Contact, conversation, and murder retain a clear action-chain; the scene shows relation governing action, not the collapse of the action schema.

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

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

Guy's pursuit and carousel struggle help the truth emerge. Relation-image here returns to effective action and restored truth rather than automatically passing into the time-image.

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

01:28:42

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 countertest asks whether the cuts merely delay Noriko's next action. If plot-use fully explains the vase, the sensory-motor chain has not genuinely loosened.

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.

▶

Displayed still

01:45:04

Feature time

01:45:04

The three stills and jumps use the user-supplied complete 02:21:06 single-part Bilibili edition; time begins at the film's opening credits.

Image

The siege remains, yet Dude, Colorado, and Stumpy compose waiting into song. Gunfighter, alcoholic, old man, and youth provisionally exchange foreground positions.

Relation to the concept

Music is not decoration that suspends action. It recalibrates attention, breath, and trust so the next act can be borne by a provisional collective rather than a lone hero.

Sources and further reading

• Cinema 1, Chapter 10

  The small form A–S–A′ of the action-image

• BFI interview with Howard Hawks

  The director on audiences, performance, and filmmaking judgment

• Continue with Red River

  Compare relayed cooperation with a transfer of command

• Continue with The Big Sky

  Carry local tactics into river, trade, and colonial route

▶

Displayed still

00:51:20

Feature time

00:51:20

The three stills and jumps use the user-supplied complete 02:13:26 single-part Bilibili edition; studio marks are part of the edition's beginning.

Image

Night erases individual riders within the whole as disturbance propagates through the herd. Human cries, horses, and dense cattle movement amplify one another faster than command can follow.

Relation to the concept

The passage countertests heroic command over the whole: response continues but is distributed across humans, horses, cattle, and night milieu. It weakens the central-command reading, yet stampede alone proves neither a crisis of action nor the small form.

Sources and further reading

• Cinema 1, Chapter 10 · p. 165

  The Hawks/small-form context in which Deleuze names Red River

• Cinema 1, Chapter 9

  Use the large form S–A–S′ as a general formula to be tested

• Criterion essay on Red River

  A deeper reading of route, relation, and Hawksian form

• Criterion interview with editor Christian Nyby

  Audit the moving whole through editing labour

• Compare Rio Bravo

  Return from transferred command to local functional relay

▶

Displayed still

00:46:16

Feature time

00:46:16

Stills and timecodes use the user-supplied 02:01:45 / 122-minute theatrical cut and do not present it as the roughly 138–140-minute long edition.

Image

Rapids undo the planned line and the men use a low branch over the bank to escape. No catapult is built; the key is the body's timely reading of a property in the milieu.

Relation to the concept

The action-image is not a grand will conquering nature but perception selecting from the milieu a property that can continue action; A rewrites the immediate S.

Sources and further reading

• Rushton guide, pp. 42–44

  Local action, ASA′, and an unfounded community

• Cinema 1, Chapter 10

  Strict coordinates for the small-form action-image

• UCLA film archive

  Edition, exhibition, and Hawks context

• Compare Rio Bravo

  The same functional relay under different frontier power