Deleuze primary text
The term or proposition is directly locatable in Deleuze; the page layout is drawn by the atlas.
FROM ACTION TO TIME / ENTER DELEUZE THROUGH THE IMAGE
When seeing no longer leads to action, how does time appear directly?
In the movement-image, the sensory-motor schema connects perception, affection, and action. When this link enters crisis, some characters cease to be primarily agents and become seers: they see and hear what no adequate response can exhaust. But this crisis is only a negative condition of the time-image; it does not make time appear automatically. Deleuze then distinguishes the larger circuits of recollection-images and dreams, the crystal-image in which actual and virtual remain distinct yet indiscernible, and direct time-signs such as sheets of past and peaks of present. This page follows these related but non-equivalent paths.
Named scholarly interpretation
A systematic interpretation by a named scholar with a locatable source; the atlas arranges the relations without presenting them as Deleuze's own words.
Cross-text comparison
A reading across the Cinema books, Bergson, philosophy of difference, psychoanalysis, or other Deleuze–Guattari texts.
Atlas analysis
A research tool proposed by the atlas from primary texts, scholarship, and shot evidence; open to further testing and revision.
A
WHEN ACTION NO LONGER SUFFICES / 行动何时不再充分
Characters keep acting, but action is no longer adequate to the situation
Across Cinema 1 and Cinema 2, movement does not disappear. What enters crisis is the sensory-motor schema that extends sights and sounds into an action adequate to the situation. In certain modern films, characters cease to be primarily agents and become seers. Deleuze speaks of a direct time-image only when movement becomes subordinate to time.
Matter as the aggregate of images
image / matièreBegin with a universe of images in which subjects and viewpoints emerge.
Cinema 1, chapters 1 and 4↗Perception-image
image-perceptionA centre of indetermination selects and subtracts from the aggregate of images.
Cinema 1, chapter 5↗Affection-image
image-affectionThe body experiences itself between received movement and a response not yet carried out.
Cinema 1, chapters 6–7↗Action-image
image-actionAction and situation determine one another in the large form S→A→S′ and the small form A→S→A′, sustaining an extensible sensory-motor circuit.
Cinema 1, chapters 9–10↗Crisis of the action-image
crise de l’image-actionA loosened sensory-motor link shows only that the old action circuit has failed. A time-image also requires evidence that time now organises movement and the connection between shots.
Cinema 1, chapter 12; Cinema 2, chapter 1↗Pure optical / sound situation
situation optique et sonore pureSeeing and hearing are no longer exhausted by action; the agent becomes a seer.
Cinema 2, chapters 1–2↗Direct time-image
image-temps directeTime is no longer inferred from movement and instead organizes movement, editing, sound, and image.
Cinema 2, chapters 3–10↗
B
HOW TIME TAKES FORM / 时间如何显形
Time is no longer represented indirectly through movement: crystals and time-signs give time an image of its own
Recollection-images and dreams enlarge the actual–virtual circuit, yet do not by themselves constitute a direct image of time. The crystal contracts the circuit to a minimum, where actual and virtual remain distinct yet indiscernible; sheets of past, peaks of present, and temporal series then give different forms of direct time. See Cinema 2, conclusion §2, 2004 ZH-CN print 431–443 / collation PDF viewer 442–454 upper half. Section 3 begins later on the same page and belongs to the next argument. The atlas reconstructs the grouping and vertical order with reference to Deamer’s scholarly taxonomy.
The optical and sound threshold beyond action
Opsign and sonsign mark pure optical or sound situations. They are thresholds toward direct time, not direct time itself. Tactisign appears locally in chapter 1; the conclusion section’s recapitulation begins with opsign and sonsign.
Opsign
opsigneSign of a pure optical situation.
2004 ZH-CN ed., print 434 / PDF viewer 445↗Sonsign
sonsigneSign of a pure sound situation.
2004 ZH-CN ed., print 434 / PDF viewer 445↗Tactisign
tactisigneA local chapter-one concept shown as a side branch of the conclusion chain.
2004 ZH-CN ed., print 20 / PDF viewer 31↗Recollection and dream expand the circuit, yet mnemosigns and onirosigns remain within indirect presentation
The recapitulation places mnemosign and onirosign within an indirect presentation that is subsequently surpassed; recollection and dream mark enlarged circuits.
Mnemosign
mnémosigneAn actual optical-sound image and a recollection-image form an enlarged circuit.
2004 ZH-CN ed., print 435 / PDF viewer 446↗Onirosign
onirosigneRelaxed perception passes through increasingly enlarged circuits toward dream-images.
Chapter 3, print 85 onward / PDF 96 onward; recapitulated at print 435 / PDF 446↗The smallest actual–virtual circuit
The hyalosign makes direct time visible as one of its forms; the criterion is the minimal actual–virtual circuit.
Time-signs branch into order and series
Sheets of past and peaks of present are two forms of temporal order; the genesign names the second kind of time-sign, temporal series.
Order of time: sheets / peaks
chronosigne — ordre du tempsCoexisting sheets of past and incompossible peaks of present are two forms of the same sign of temporal order.
2004 ZH-CN ed., print 436–upper 437 / PDF viewer 447–upper 448↗Series of time: genesign
génésigneTime takes the form of a series of variation, bifurcation, and becoming.
2004 ZH-CN ed., print 437 / PDF viewer 448↗Thought and readability as dimensions
The vertical arrangement provides a reading order; films may present several relations in different combinations.
Noosign
noosigneCuts, intervals, and relations to the outside undo habitual images of thought and force thinking.
2004 ZH-CN ed., print 439–441 / PDF viewer 450–452↗Lectosign
lectosigneThe image becomes a readable stratigraphy of sound, image, and invisible relations; words are one of its materials.
2004 ZH-CN ed., print 443 / PDF viewer 454↗Four books push the same concept into different materials
Page ranges belong to the verified editions; links return to book relations, concept pages, and sound evidence.
Sutton: afterlife of the carrier
Photography, Cinema, MemoryReturns memory from abstract content to film, file, re-editing, and access regimes.
pp. 201–226↗Colman: sound signs and responsibility
Deleuze and Cinema: The Film ConceptsTreats sound as a relation of delay, occlusion, and responsibility rather than atmosphere.
pp. 101–146↗Rushton: independent sound series
Deleuze and Lola MontèsTests whether pure sound situations and post-cinematic apparatuses form time apart from action.
pp. 63–68, 101–118↗Jiang: machine eye and bearer
后人类影像Separates camera, sensor, model, and interface while asking who bears the consequences of automated vision and sound.
pp. 331–359↗Sound evidence: from hearing to bearing
Returns the four books' relation cards to locatable segments, separating audible fact, carrier, bearer, and evidence boundary.
Sound-evidence layer for Memoria, Sound of Falling, April, Cemetery of Splendour, and The Zone of Interest↗Sign relations
The conclusion explicitly places mnemosign and onirosign among surpassed signs; genesign is the second kind of time-sign, temporal series.
C
FROM SHOT TO CONCEPT / 从镜头进入概念
First ask what the shot changes; then ask which concept holds
Begin with image, sound, body, space, and editing. Then ask: where does action fail, what temporal relation becomes perceptible, and what counterexample would undo the claim? A concept is not a label attached to a film; it is created in response to a problem posed by the shot. Every use the atlas makes of a concept must return to the shot and remain open to counter-evidence.
Record facts first
Describe shots, duration, movement, sound, bodies, space, and editing before naming a concept.
Does perception still lead naturally to adequate action?
If S→A→S′ or A→S→A′ remains effective, movement-image may still dominate.
↗Do optical or sound situations become autonomous from action?
First record which images or sounds are not exhausted by the character’s action; then decide whether they form opsigns or sonsigns, or still serve spatial orientation, emotional prompting, or action cues.
↗What kind of recognition circuit operates?
Mark automatic recognition, attentive recognition, failed recollection, and dream relaxation separately.
↗Which temporal relation organizes the images?
Distinguish crystal, sheets of past, peaks of present, and genetic series; non-linearity describes only the surface structure.
↗Does a final truth still adjudicate narration?
Multiple viewpoints and unreliable narrators may preserve a final tribunal; determine whether adjudication itself enters metamorphosis.
↗How do cuts, sound, and image relate?
Distinguish continuity, discontinuity effects, irrational cuts, and autonomous sound/visual series.
↗How are thought, body, and politics forced into existence?
Test attitudes, gestus, brain-like connections, the intolerable, and a people not yet given; their image-relations provide conceptual evidence.
↗Keep a composite conclusion and counter-evidence
Movement-image and time-image relations may coexist in one segment; conclusions record evidence strength, counter-conditions, and open questions.
RELATED TEXTS
Primary texts and related scholarship
Primary pages show where a relation appears in Deleuze; scholarly reconstruction shows how Deamer organises it; cross-text links show encounters with Matter and Memory, Difference and Repetition, A Thousand Plateaus, and related texts. Return to the scene library to test whether the atlas claim crosses its material; page coordinates remain attached to each node and map entry.
The scene library contains 64 scene analyses; the 198-slide atlas offers 49 further film gateways.
Open scene evidence