P4 Time-Image Research ProjectP4 THEATER · DELEUZE
RESEARCH / MATERIAL INDEX

Material index

Start from a concrete moment in an image: an action failing, a sound leaving the frame, or a body being reorganized by time. This index returns that viewing path to the film entry, scene evidence, concept argument, book guide, and source.

147films
64scene records
105films with shot analysis
16films with scenes
37films in concept discussions
31bibliography works
8deep book guides
01

Film analysis, scenes, and viewing

Open a film title to read its analysis. The links below it lead directly to scenes, related concept discussions, and Bilibili videos.

003 · Europe ’51 · Europa ’51 · 1952 · Roberto Rossellini / 罗伯托·罗西里尼 · 1 scenes · 1 concept discussions · shot analysis · The factory passage does not leave Irene wholly unable to act: she can still approach, converse, and leave. Yet the machines' scale, the narrow passage, and the mechanical sound are no longer exhausted by the site's use as a ‘workplace’; the atlas reads this remainder as her shift from managing a situation toward enduring and seeing it anew as a seer.
1 scene records ↗When does action give way to seeing? ↗Bilibili source
071 · Black Swan · Black Swan · 2010 · Darren Aronofsky / 达伦·阿伦诺夫斯基 · shot analysis · The rehearsal mirror first corrects Nina's body, then reflections hesitate, slip out of phase, and even move before she does. The mirror no longer confirms a whole self; it compresses Nina and Lily, White Swan and Black Swan, into one body. Scratches, feathers, toes, and stage transformation are therefore more than illustrations of subjective hallucination: actual and reflected bodies rewrite one another, filming 'becoming the role' as a circuit that produces the performer in return.
073 · Synecdoche, New York · Synecdoche, New York · 2008 · Charlie Kaufman / 查理·考夫曼 · 1 concept discussions · shot analysis · Caden copies New York inside a warehouse and assigns actors to copy friends, strangers, and himself. Each double demands more rooms, rehearsals, and doubles of doubles. The stage no longer abbreviates life; it expands like a crystalline seed into an environment that reabsorbs marriage, ageing, and death. Sammy first makes a profession of watching Caden and later assumes his role, showing that a copy is not a static image: it changes how the original can next live until neither person nor set retains an outside to which it can return.
How do actual and virtual rewrite one another? ↗
076 · 24 City · 二十四城记 · 2008 · Jia Zhangke / 贾樟柯 · 1 concept discussions · shot analysis · Factory 420 is being demolished, so the place named by testimony disappears from the image while it is being narrated. Workers and performers including Joan Chen, Lü Liping, and Zhao Tao share the same frontal interview form. The film neither lets professional identity settle truth nor equates performance with deceit; dialect, pause, facial detail, old photographs, popular songs, and demolition dust test one another. Here the power of the false does not abolish history. It forces history to acknowledge that urban memory can only be produced among heterogeneous tellings.
Who still holds the tribunal of truth? ↗
082 · The Hour of the Furnaces · La hora de los hornos · 1968 · Fernando Solanas & Octavio Getino / 费尔南多·索拉纳斯、奥克塔维奥·赫蒂诺 · 1 concept discussions · Montage, intertitles, pauses, and discussion organize projection as political action. Because the film presupposes a revolutionary people available to be addressed, it becomes a decisive comparison for testing the boundary of Deleuze's claim that the people are missing.
Who says ‘we’, and how does that we appear? ↗Bilibili source
084 · In the Mood for Love · 花樣年華 · 2000 · Wong Kar-wai / 王家卫 · shot analysis · Su goes for noodles and Chow waits on stairs and corridors; the same music returns similar routes while distance, glance, and hesitation quietly change. When they act out how their spouses began the affair or how a confrontation might unfold, a scene often reveals only midway that it is rehearsal. The unactualized conversation thus determines what they can still say in actual life. The cavity at Angkor Wat preserves not a completed romance but a relation already becoming memory as it occurs and still continuing to act.
Bilibili source
087 · Once Upon a Time in Anatolia · Bir Zamanlar Anadolu’da · 2011 · Nuri Bilge Ceylan / 努里·比格·锡兰 · shot analysis · Headlights repeatedly illuminate similar slopes and fountains, yet the suspect can only answer 'not here.' The search accumulates no mastery of the steppe; it releases wind, an apple rolling into a stream, car conversations about illness and family, and the pause produced when the mayor's daughter serves tea. Even after the body is found, transported, and examined, the doctor suppresses a detail that could alter responsibility. Procedure finishes while the event remains unexhausted: the time of death stays among landscape, fatigue, and a judgment left unwritten.
Bilibili source
096 · Stagecoach · Stagecoach · 1939 · John Ford / 约翰·福特 · 3 scenes · shot analysis · Cinema 1 chapter 9 defines S–A–S′ on pp. 141–142. Page 146 directly uses Stagecoach's alternation between coach interior and exterior to explain Ford's Encompasser and treats the circular S–A–S as a first approximation; p. 147 then distinguishes Ford's spiral as S–A–S′, moving toward a new situation. The atlas therefore locates three passages without treating a long shot as proof by itself. Around 00:35:10, the coach is reduced beneath Monument Valley and the sky, proposing rather than proving an encompassing situation. From 01:13:30 to 01:15:20, cross-cutting distributes driver, reins, horses, gunfighters, and passengers across a collective act, giving firmer evidence for A. From 01:33:50 to 01:35:28, Ringo is released and leaves with Dallas in a small cart. That departure may form S′, but it is also a countertest: the film clearly shows Ringo leaving town with Dallas after his release without directly showing whether legal and class positions inside the town are redistributed. Deleuze's criticism on p. 150 of American montage reducing social causes to a personal duel, together with the distinctions among whole mission, local action, and duel on pp. 151–152, sets the textual boundary for asking whether a changed situation for the pair amounts to a changed situation as a whole. The atlas is responsible for the three timecodes and for relating them in this way.
3 scene records ↗Bilibili source
098 · Vertigo · Vertigo · 1958 · Alfred Hitchcock / 阿尔弗雷德·希区柯克 · 3 scenes · shot analysis · Cinema 1, pp. 204–205 both supplies a general criterion for Hitchcock's inclusion of spectator response within a director–film–spectator relation and directly explains Vertigo through variations in the Same's relations to the dead woman, husband, and detective; it does not analyze the atlas's three chosen passages shot by shot. Rushton, pp. 53–57, gives a more specific chain: Elster's commission scripts Scottie's viewing through the absent Carlotta; Judy's unsent letter confirms the deception for the spectator before Scottie; the remaking of Judy then unfolds inside that knowledge gap. Three atlas scene records bind commission, confession, and green-lit remaking to the 02:07:27 repost timeline. A boundary is equally important: Rushton p. 124 explicitly classifies the dolly zoom as the affection-image par excellence, so it cannot serve by itself as positive relation-image evidence. The green light's actual–virtual reading likewise remains a candidate pending evidence of a reciprocal circuit.
3 scene records ↗Bilibili source
099 · The Birds · The Birds · 1963 · Alfred Hitchcock / 阿尔弗雷德·希区柯克 · 3 scenes · shot analysis · Cinema 1, p. 204 directly calls the first gull attacking the heroine a demark and the thousands of birds or flock as a whole a symbol, but it does not analyze the pet-shop or playground editing for the atlas. The three scene records therefore separate evidentiary levels: the pet shop at 00:02:00–00:07:10 only proposes an ordinary relation of merchandise, gift, and captivity; the bay crossing at 00:25:00–00:25:42 receives direct primary support for a gull that reroutes that relation; the playground at 01:09:45–01:12:15 tests how the flock changes school/play, song/alarm, perching/encirclement, and classroom order/urgent evacuation together. The children's song continues through the flock's accumulation, timing each cutback and delaying alarm.
3 scene records ↗Bilibili source
100 · Strangers on a Train · Strangers on a Train · 1951 · Alfred Hitchcock / 阿尔弗雷德·希区柯克 · 3 scenes · shot analysis · Cinema 1, p. 201 directly invokes an exchange of crimes and murders to explain how Hitchcock surrounds and penetrates action with a fabric of relations; it does not classify the lighter, touching shoes, or spectacles shot by shot. Rushton, pp. 48–53, supplies the more specific chain: accidental foot contact on the train initiates a relation between strangers; Bruno construes Guy's words as an exchange of crimes. The lighter begins as Anne's gift to Guy. When Guy lends it to Bruno for a cigarette, Bruno reads its 'A to G' inscription—Anne to Guy—and draws the Anne–Guy gift relation into the Guy–Bruno criminal relation, making the lighter a mark of that relation; he later tries to turn it into a demark that would place Guy at the murder site. Barbara's spectacles abruptly reconnect a dinner-party strangling game to Miriam's murder. On p. 53 Rushton follows Robin Wood's account of the “spectator trap” to show that implication is not merely informational: the film first encourages the audience to treat Miriam's death as the removal of Guy's obstacle, then turns that desire back on the audience through the dinner-party strangling game. That the audience witnesses Bruno's act before Guy does is the atlas's carrier-based record of a knowledge gap; it is not folded into the same claim about Thirdness. Deamer, pp. 132–137, is used only to calibrate the general taxonomy of mark, demark, symbol, and spectator relation. The atlas remains responsible for its three Bilibili timecodes and shot-level applications; these are not presented as Deleuze's own shot analysis.
3 scene records ↗Bilibili source
105 · Greed · Greed · 1924 · Erich von Stroheim / 埃里克·冯·施特罗海姆 · 3 scenes · shot analysis · Three passages are now located, while their theoretical relation remains a candidate reading constrained by counterevidence. From 02:51:30 to 02:57:31, the giant gold tooth sign is first proposed for sale as an exchange object; the old meat and demand for change that immediately follow still belong to ordinary exchange and a practical budget. The passage therefore first contests the claim that a golden object is automatically a fetish. From 03:02:06 to 03:02:42, Trina counts her savings, brings the money close to her face, and addresses it as second-person 'you': grasping and hoarding as real behaviours or gestures may be symptom candidates. Only when money is withdrawn from exchange and use into something solely kept and caressed does it approach a fetish candidate. From 03:50:45 to 03:55:39, the money bag, money, dead horse, broken canteen, handcuffs, and caged bird enter one exhausted desert milieu, but money, teeth, and the caged bird cannot be collapsed in advance into one class of object-fragments or fetishes: the canteen, handcuffs, and bird first belong to material relations of water loss, restraint, and exhausted life respectively. Page 125 generally defines the four structural terms and symptom or fetish while directly listing Greed's desert ending as a localized originary world. Page 128 directly names the film's impulse for gold, then defines partial object and fetish in general; pp. 126–130 also develop descent, entropy, and environmental exhaustion. Exact timecodes, the tooth's exchange function, the caress of money, and distinctions among the final objects remain the atlas's responsibility.
3 scene records ↗Bilibili source
120 · City Lights · City Lights · 1931 · Charles Chaplin / 查理·卓别林 · 3 scenes · shot analysis · Cinema 1 chapter 10 gives the general structure of small form A–S–A′ and its lacking or equivocal indices on pp. 160–163. Page 169 directly names City Lights as an example of a 'personality split of a pivotal character,' without assigning the millionaire's drunk or sober passages or a rule of recognition shot by shot. The atlas tests the drunken welcome from 00:11:30 to 00:15:50 and sober rejection from 00:34:14 to 00:35:48 as the concrete filmic realization of that phrase. The sequence directly named on p. 171 is the thread-unravelling gag around 00:52:32–00:53:54, not the final recognition. In the first meeting from 00:07:20 to 00:09:38, the film juxtaposes a dropped flower, its recovery, a coin, an approaching figure, and a departing car for the viewer; the flower seller can draw on touch, transaction, and sound, while exact attribution of each door sound still requires track-level review. In the touch recognition from 01:24:56 to 01:26:12, the action chain contracts into an affective instant of face, hand, shyness, and smile, without automatically establishing a new practical A′ or turning the film into a time-image. The theoretical relations assigned to all three located groups remain the atlas's responsibility.
3 scene records ↗Bilibili source
122 · North by Northwest · North by Northwest · 1959 · Alfred Hitchcock / 阿尔弗雷德·希区柯克 · 3 scenes · shot analysis · The three passages require distinct evidentiary levels. At 00:00:50 the diagonal grid, title, and directional arrows propose that relational positions precede personal identity, but geometrical resemblance alone does not establish Thirdness. The farmland passage around 01:12:00 first composes a habitual series of waiting, road, vehicles, and fields; a stranger observes that the plane is dusting where there are no crops, and this relational contradiction makes it the demark that reroutes the series. At 02:15:59 the match cut joins cliff rescue to an embrace in the train berth, countertesting an overextended relation-image through sensory-motor closure and marital resolution. Deleuze, p. 203, and Rushton, pp. 48–53, supply the sign criteria; the edition bounds and comparison among opening, field, and ending are the atlas's responsibility.
3 scene records ↗Bilibili source
130 · Alphaville · Alphaville, une étrange aventure de Lemmy Caution · 1965 · Jean-Luc Godard / 让-吕克·戈达尔 · shot analysis · Alpha 60's voice, an ever-contracting dictionary, and ubiquitous interrogation turn power from a single tyrant into an information network. Lemmy enters with the body of an old detective film and with poetry, making action, language, and feeling into noise the machine cannot process. The controlled city develops a rhythmic fault from within.
Bilibili source
138 · Rome, Open City · Roma città aperta · 1945 · Roberto Rossellini / 罗伯托·罗西里尼 · shot analysis · Partisans, a civilian household, a priest, and the occupiers might have converged into one line of resistance, yet raids, a street chase, abrupt gunfire, torture, and execution cut it into displaced encounters. Pina runs after the truck and suddenly falls while the children can only look on. Action no longer encompasses the event; postwar reality first appears as dispersion and gaps.
Bilibili source
139 · The Great Dictator · The Great Dictator · 1940 · Charles Chaplin / 查理·卓别林 · 3 scenes · shot analysis · The same face and moustache need only a change of uniform, posture, and vocal regime to occupy the incommensurable situations of victim and executioner. At 00:54:08–00:56:16, the globe ballet contracts world conquest into balloon, dance, and rupture; the atlas treats it as a candidate attraction under chapter 11, pp. 182–183. At 01:50:07–01:54:27, misrecognition exchanges prisoner and ruler, making it a candidate inversion under pp. 183–187. Both are shot-level atlas inferences. The final address at 01:59:09–02:03:08 has direct support in chapter 10, pp. 171–173: an ordinary voice replaces Hynkel's pseudo-German terror and makes the political problem implicit in the doubled role into Deleuze's discursive figure. This establishes discourse as image-object, not the completed transformation of democratic institutions within the film.
3 scene records ↗Bilibili source
140 · Rio Bravo · Rio Bravo · 1959 · Howard Hawks / 霍华德·霍克斯 · shot analysis · The jail scarcely needs the prisoner's body to acquire meaning; it operates as a functional node to be held or breached. Sheriff, recovering alcoholic, disabled old man, and young gunfighter represent no organic community. They form a provisional group through capacities to guard, hear, carry, and shoot, while the final combination of dynamite and rifle compresses Western space into exchangeable functions.
Bilibili source
141 · Red River · Red River · 1948 · Howard Hawks / 霍华德·霍克斯 · 3 scenes · shot analysis · Deleuze names Red River in Cinema 1, chapter 10, p. 165, within Hawks and the small form rather than directly presenting it as a model of the large form. Open landscape and collective task can still pose an S–A–S′ hypothesis. The atlas then countertests it through the claim passage at 00:15:38, stampede at 00:51:20, and transfer of command at 01:21:08: does an encompassing situation genuinely precede action, or is it progressively disclosed and reorganized by local acts, differences of speed, and relayed functions? The relation among these three shots is the atlas's responsibility, not a shot-by-shot gloss of p. 165.
3 scene records ↗Bilibili source
142 · Scarface · Scarface: The Shame of the Nation · 1932 · Howard Hawks / 霍华德·霍克斯 · shot analysis · Tony builds an apparently effective gangster habit through assassination, machine-gun fire, and territorial seizure, while recurring X marks inscribe death within each success. The milieu is no stable community but an alliance ready to reverse. When his sister is shot, possessiveness, arrogance, and fear converge into a crack, and the actions that organized situations abruptly fail.
Bilibili source
143 · The Big Sky · The Big Sky · 1952 · Howard Hawks / 霍华德·霍克斯 · shot analysis · Sky first encompasses land, river, and expedition; the Missouri then stretches the static Western milieu into a long fluid route. Companions of different backgrounds do not fuse into a national community but connect through paddling, negotiation, guarding, and improvisation. The escape by a low branch in the rapids turns the gap between immense nature and small-group action into a locally usable function.
Bilibili source
144 · The Scarlet Empress · The Scarlet Empress · 1934 · Josef von Sternberg / 约瑟夫·冯·斯坦伯格 · shot analysis · White wall, door, veil, pillow, and sheets detach young Sophia's face from courtly coordinates. White is not innocence but an affective space that reflects, refracts, and imprisons light. Later, a close-up divided by shadow makes choice visible: she renounces intimacy for the cold conquest of power. Alternating light and dark no longer explains psychology; it directly composes a mode of existence.
145 · Intolerance · Intolerance: Love's Struggle Throughout the Ages · 1916 · D. W. Griffith / D·W·格里菲斯 · shot analysis · The vertical of Babylon's wall divides the elevated king and lower chariots within one geometric frame; parallel montage then makes four epochs recall one another. In the finale, the Babylonian chariot and modern car-train rescues accelerate together. Distant civilizations converge as editorial intervals contract, indirectly producing time through the expansion and contraction of a whole of movement.
147 · Vampyr · Vampyr — Der Traum des Allan Grey · 1932 · Carl Theodor Dreyer / 卡尔·西奥多·德莱叶 · shot analysis · Pale grey light, drifting shadows, a scythe detached from its owner, and the road seen upward from inside a coffin strip inn, mill, and manor of stable coordinates. Allan Grey is not an agent who masters horror but Deleuze's grey figure of uncertainty. He moves between real connection and virtual supernatural possibility, while space itself bears the choice not yet decided.
Bilibili source
02

Book guides, editions, and films

Open a title for its guide, chapters, concepts, and film cases. “Editions and access” lists originals, translations, and reading links.