DOI: 10.4231/yb93-cs17
title: Cinema 1: The Movement-Image, Lecture 11, 02 March 1982

description: &lt;p&gt;&lt;em&gt;The Deleuze Seminars&lt;/em&gt; is a collection of audio recordings, transcriptions, and English translations of, and supplemental materials from, the lectures French philosopher Gilles Deleuze gave during his career at the University of Paris 8.&lt;/p&gt;

&lt;p&gt;&ldquo;Cinema 1: The Movement-Image&rdquo; was a 21-lecture seminar given from November 1981 to June 1982. This seminar marks the first of four consecutive seminars in which Deleuze presents his theory of film. Here, in large part through the philosophy of Henri Bergson, Deleuze rethinks film as a movement-image, as opposed to a succession of still frames or photographic images. Throughout the course he references a wide variety of filmmakers, critics, and philosophers. As a precursor to the publication of Deleuze&rsquo;s first of two volumes on cinema, &lt;em&gt;Cinema 1: The Movement-Image&lt;/em&gt; (&lt;em&gt;Cin&eacute;ma 1. L&#39;Image-Mouvement&lt;/em&gt;, 1983), this seminar is a valuable resource to researchers interested in Deleuze&rsquo;s film theory, as well as his larger philosophical oeuvre.&lt;/p&gt;

&lt;p&gt;In the 02 March 1982 lecture, topics of discussion include: the affection-image; close-ups, the face and affects; the French film director Jacques Tourneur; Expressionism (film); British film director Terence Fisher&#39;s &lt;em&gt;Dracula&lt;/em&gt;; the Gothic image; English film director James Whale&rsquo;s &lt;em&gt;Frankenstein&lt;/em&gt;; the affect as a singular essence, or the power-quality, expressed in a face; the exposure for itself of the power-quality; the French filmmaker Pascal Auger; the potentiation of space; F.W. Murnau; American-born German film director Arthur Robison and his &lt;em&gt;Warning Shadows&lt;/em&gt; (&lt;em&gt;Schatten - Eine n&auml;chtliche Halluzination&lt;/em&gt;); the color-image and surface colors; French-Swiss film director and critic Jean-Luc Godard, his &lt;em&gt;Contempt&lt;/em&gt; (&lt;em&gt;Le M&eacute;pris&lt;/em&gt;) and atmospherics; Antonioni&#39;s &lt;em&gt;Red Desert&lt;/em&gt; (&lt;em&gt;Il deserto rosso&lt;/em&gt;); the Belgian-born film director Agn&egrave;s Varda; the direct constitution of any space, and empty spaces; the city ​​images of German film director Rainer Werner Fassbinder; Swiss film director Daniel Schmid and his &lt;em&gt;Shadow of Angels&lt;/em&gt; (&lt;em&gt;Schatten der Engel&lt;/em&gt;); Wim Wenders; the affect of fear; French film critic and historian Jean Narboni on the hollow spaces of French filmmaker Jean-Marie Straub; and French film director Alain Resnais and his &lt;em&gt;Muriel&lt;/em&gt;.&lt;/p&gt;

&lt;p&gt;The new version of this dataset includes: the English translation and French transcription in Open Document Text (odt) format, an aggregate version of the audio recordings into a single mp3, and the original Paris-8 French transcription of the recorded lecture. The first version, also available, includes the translation and transcription in pdf and txt format and the audio recordings. The aggregate audio file has been downsampled.&lt;/p&gt;

&lt;p&gt;--&lt;/p&gt;

&lt;p&gt;&lt;em&gt;Les S&eacute;minaires de Deleuze&lt;/em&gt; sont une collection d&#39;enregistrements audio, de transcriptions et de traductions en anglais et de documents compl&eacute;mentaires des conf&eacute;rences que le philosophe fran&ccedil;ais Gilles Deleuze a donn&eacute; lors de sa carri&egrave;re &agrave; l&#39;Universit&eacute; de Paris 8.&lt;/p&gt;

&lt;p&gt;&laquo;L&rsquo;image-mouvement, Leҫons bergsoniennes sur le cin&eacute;ma&raquo; &eacute;tait un s&eacute;minaire de 21 conf&eacute;rences donn&eacute; de novembre 1981 &agrave; juin 1982. Ce s&eacute;minaire marque le premier de quatre s&eacute;minaires cons&eacute;cutifs dans lesquels Deleuze pr&eacute;sente sa th&eacute;orie du film. Ici, en grande partie gr&acirc;ce &agrave; la philosophie d&#39;Henri Bergson, Deleuze repense le film comme un image-mouvement, par opposition &agrave; une succession d&#39;images fixes ou d&#39;images photographiques. Tout au long du cours, il fait r&eacute;f&eacute;rence &agrave; une grande vari&eacute;t&eacute; des cin&eacute;astes, des critiques et des philosophes. En tant que pr&eacute;curseur de la publication des premiers volumes de Deleuze sur le cin&eacute;ma, &lt;em&gt;Cin&eacute;ma 1. L&#39;Image-Mouvement &lt;/em&gt;(1983), ce s&eacute;minaire est une ressource pr&eacute;cieuse pour les chercheurs int&eacute;ress&eacute;s par la th&eacute;orie du film de Deleuze, ainsi que sa plus grande &oelig;uvre philosophique.&lt;/p&gt;

&lt;p&gt;Dans la conf&eacute;rence du 02 mars 1982, les sujets de discussion comprennent: l&#39;image-affection; les gros plans, le visage et les affects; le cin&eacute;aste fran&ccedil;ais Jacques Tourneur; l&rsquo;expressionnisme; &lt;em&gt;Dracula&lt;/em&gt; du r&eacute;alisateur britannique Terence Fisher; l&#39;image gothique; &lt;em&gt;Frankenstein&lt;/em&gt; du r&eacute;alisateur anglais James Whale; l&#39;affect en tant qu&rsquo;essence singuli&egrave;re, ou qualit&eacute;-puissance, exprim&eacute;e dans un visage; l&#39;exposition pour elle-m&ecirc;me de la qualit&eacute; de qualit&eacute;-puissance; le cin&eacute;aste fran&ccedil;ais Pascal Auger; la potentialisation de l&#39;espace; F.W. Murnau; le r&eacute;alisateur allemand d&#39;origine am&eacute;ricaine Arthur Robison et ses &lt;em&gt;Le Montreur d&#39;ombres&lt;/em&gt;; l&#39;image en couleurs et les couleurs de surface; le r&eacute;alisateur et critique franco-suisse Jean-Luc Godard, son &lt;em&gt;Le M&eacute;pris&lt;/em&gt; et les atmosph&egrave;riques; &lt;em&gt;Le d&eacute;sert rouge &lt;/em&gt;d&#39;Antonioni; la cin&eacute;aste d&#39;origine belge Agn&egrave;s Varda; la constitution directe d&rsquo;un espace quelconque, et les espaces vid&eacute;s; les images-ville du r&eacute;alisateur allemand Rainer Werner Fassbinder; le r&eacute;alisateur suisse Daniel Schmid et son &lt;em&gt;L&rsquo;Ombre des anges&lt;/em&gt;; Wim Wenders; l&#39;affect de la peur; le critique de cin&eacute;ma et historien fran&ccedil;ais Jean Narboni sur les espaces creux du cin&eacute;aste fran&ccedil;ais Jean-Marie Straub; et le r&eacute;alisateur fran&ccedil;ais Alain Resnais et son &lt;em&gt;Muriel ou le Temps d&#39;un retour&lt;/em&gt;.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 02 March 1982. This is lecture 11 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.