TERM AND TRANSLATION
cinematic still life
nature mortecinematic still life
In chapter 1 of Cinema 2, Deleuze distinguishes still life from empty space: empty space derives its force from the absence of possible content, whereas still life is defined by the presence and composition of objects. Cinematic still life differs from painting or photography because the shot gives it duration; in Late Spring's vase shot, that duration presents the unchanging form of time filled by change.
Atlas working translation
电影静物
- French term
- nature morte
- English term
- cinematic still life
Variants and search terms
- 静物Simplified record
- 静物镜头Simplified record
- 静物影像Simplified record
- 靜物Traditional record
- 靜物鏡頭Traditional record
- 靜物影像Traditional record
- still lifeCommon / non-Chinese record
- cinematic still lifeCommon / non-Chinese record
- still-lifeCommon / non-Chinese record
Conceptual boundary
Do not classify every motionless object as a cinematic still life or begin by asking what it symbolizes. First check duration, adjacent shots, and the sound field, then ask whether these relations give time an organizing role not exhausted by narrative function.
Sources and translations
- 01Gilles Deleuze, Cinéma 2. L’image-temps, Minuit, 1985
French primary text and terminological baseline.
Read source →Open external source ↗ - 02《电影2：时间—影像》，谢强、蔡若明、马月译，湖南美术出版社，2004
Published Mainland Chinese translation; pagination identifies this edition.
- 03Time-Image Research Atlas terminology policy, v1
Atlas terms govern prose, aliases remain searchable, and original-language forms accompany first use.