System & semiotics
Pierre Montebello
皮埃尔·蒙特贝洛
Treats movement and time as zones of interference between cinematic and philosophical practices, showing why the Cinema books are neither film history nor applied philosophy.
Major works
Atlas further reading: debates
Begin with how a taxonomy is produced and how signs change, then test its reach through action relations, actual–virtual circuits, and powers of the false.
Replacement or coexistence?
The time-image reverses the subordination of time to movement; both regimes persist and can shift locally within one film.
Taxonomy or generator?
Fixed labels invite mere example-hunting; an open taxonomy requires new concepts to transform existing relations and explain across cases.
How do we use Deleuze precisely?
Test four layers: sensory-motor relation, actual/virtual circuit, audio-visual connection, and regime of truth.
Atlas further reading: concepts and films
Related concepts
- Sensory-motor schemaschème sensori-moteur
Record what the figure perceives, how the body is affected, and what action follows; then ask whether that action alters the milieu and supplies usable cues for the next perception. At which link does the circuit break?
→ - Actual / virtualactuel / virtuel
Identify the unactualized yet already operative relations, memories, or tendencies that constrain the shot, then show how they differentiate into this actual composition, performance, sound, or narrative form. Merely imagining a possible future does not pass the test.
→ - Powers of the falsepuissances du faux
Does the film expose a lie to restore truth, or alter the rules by which truth and falsity are produced?
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Related films
- Late Spring1949 · Yasujirō Ozu / 小津安二郎
The vase still life intervenes between the daughter’s smile and tears, placing change within time’s unchanging form.
→ - Citizen Kane1941 · Orson Welles / 奥逊·威尔斯
Witnesses search different sheets of the past for Kane; a complete truth remains unactualized.
→ - F for Fake1973 · Orson Welles / 奥逊·威尔斯
Each expert, forger, director, and narrator passes the tribunal to another. The question becomes whose power can create.
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Sources
- 01Publisher work recordOpen external record ↗
- 01Deleuze, philosophie et cinéma
Official Vrin edition framing movement and time as the central encounter between cinematic and philosophical practices.
Open internal source record → - 02Cinéma, subjectivité et aliénation chez Deleuze
Open French text hosted by a Toulouse university research team on cinema, subjectivity, and alienation.
Open internal source record →