Changelog

Browse by concept, read further by chapter

Nine colours work with symbols and text to mark questions of movement, memory, the crystal, time and thought. All 27 concepts have topic links. The homepage map and concept essays use clearer type sizes and spacing; mobile contents follow the reading order.

All 31 books link directly to their full guides, with 153 existing section links collected in the directory. The chapter index separates Cinema 1’s 12 chapters, Cinema 2’s 10 chapters and 13 research chapters. Eleven film comparisons restore their existing third passage image, with links to the corresponding videos.

The homepage concept map: definitions, connections and playable passages

The homepage brings together 27 existing concepts and 69 terms, with complete explanations and links to their individual entries. Reading areas connect movement, time, memory, the crystal, difference, desire and becoming. Each definition opens further paths into film analysis, primary texts and book guides.

The map explains 29 links between concepts, distinguishing types, forms, thresholds and adjacent problems. It includes seven existing groups of passage images with descriptions and time locators. Clicking an image opens its corresponding video to continue watching the passage under discussion.

Research links now position the destination heading and opening paragraph below the fixed contents, so they remain unobscured. Reading cards retain the analysis, specific evidence and sources, without repetitive progress footers.

Find films, concepts, and books faster

Section directories above the text and links in the footer lead to films, scenes, concepts, books, terms, and all materials. The material index lists each film’s related concept discussions with direct reading links. Book guides and film essays remain available in full.

Passage readings of Europa ’51, Late Spring, and Memoria

Europa ’51 now has a source-bound factory passage: 00:59:45–01:00:35 is the bounded observation window and 01:00:00 the still timestamp. Machinery, dialogue, and bodily distance supply observable facts; the relation between action and seeing draws on Cinema 2, chapters 1 and 3, and the film’s wider context.

Late Spring’s vase sequence is tied to BV1dN4y1B7tF, with four cut points and a still at 01:28:42 recorded separately. Cinema 2, pp. 16–17, supplies the primary argument about the form of time; Nornes and Parks develop debates over viewpoint, snoring, music, and shot duration. Film, scene, research atlas, and still-life entry point to the same record.

Memoria now records a 09:42 opening excerpt: the blast occurs at about 00:01:45.490; the still at 00:01:56 shows the figure already sitting up, while the first frame of the bodily reaction has not been measured separately. Visible state, sound onset, and displayed still retain distinct locators. The sonsign relation is passage-located; recurrence across the feature still requires a complete edition. Of forty contemporary-image relations, thirty-nine remain candidates, one is located, and none has completed relational verification.

Opsigns and sonsigns mark situations in which what is seen or heard exceeds its use for action. They provide a threshold or condition for the question of direct time; a direct-time judgement also requires a specific temporal relation. Version 2.1.0 synchronizes committed scenes, bilingual search, and page counts while retaining existing entities and citation addresses.

How can twenty contemporary cases test a concept in return?

The figures below describe the state at the 2.0.1 release.

Twenty contemporary cases form forty comparisons with fifteen Deleuzian concepts, examining time in recommendation systems, databases, interactive images, and installations. Research and concept pages link both ways to works, sources, and readings.

Comparisons distinguish extensions, boundary tests, counterexamples, and disputes. Autoplay and noosigns, databases and the virtual, and layered media and crystals are examined as distinct mechanisms.

The evidence method changes with the work: twenty-eight relations require a versioned passage or shot interval, six require same-session traces, four require interaction-state transitions, and two require a specific installation or screening edition. All forty remain candidate readings; until the corresponding records exist, a synopsis, a theme of time, or a source image supplies identification or context rather than verified formal evidence.

Thirteen cases include identification images and source links.