WEEK 1--INTRODUCTION TO THE MOVEMENT …（星期1u2014u2014介绍运动u2026）.pdf

Gilles Deleuze, Cinema 1: The Movement-Image [1983], trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986). WEEK 1--INTRODUCTION TO THE MOVEMENT-IMAGE; MOVEMENT-IMAGE AS PERCEPTION Abridged Version -- Read chapters 1-5, skipping part of Chapter 3 (pp. 40-55), the end of Chapter 4 (pp. 66-70), and part of Chapter 5 (pp. 76-80). Watch the following films: • Broken Blossoms (d. Griffith, 1919). • October: Ten Days That Shook the World (d. Eisenstein, 1927). • Sunrise: A Song of Two Humans (d. Murnau, 1927). • The Passion of Joan of Arc (d. Dreyer, 1928). • Metropolis (d. Lang, 1927). • Man with a Movie Camera (d. Vertov, 1929). 1 Bergson and movement movement space covered indivisible divisible “heterogenous, irreducible” (1) “single, identical, homogenous space” (1) concrete/qualitative duration [durée] subdivided/quantitative time privileged instants -- “keyframes” or any-instant-whatevers -- impartial special tableaus quantizing Hence Bergsons conclusion that cinema is false movement • the cinematographic illusion • immobile sections + abstract time i.e. reconstitute movement by adding a “mechanical, homogenous, universal” time axis (ex 24 fps) to a series of photographic still frames. • this is “false” because its an illusion of movement. Yet Deleuze wants to show that the cinema can also be a real movement “Can we conclude that the result is artificial because the means are artificial?” (2) • phenomenological? experiential? • real movement -concrete duration “In short, cinema...” (2) 2 privileged instants and any-instant-whatevers [instant quelconque]