DOI: 10.4231/4659-n884
title: Cinema, Truth, and Time: The Falsifier: Lecture 10, 31 January 1984

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, Truth, and Time: The Falsifier&rdquo; was a 22-lecture seminar given from November 1983 to June 1984. This seminar, the third of four consecutive seminars Deleuze gave on cinema, shifts focus from the movement-image to the time-image. In these lectures, Deleuze continues to elaborate his theory of cinema through various theoretical and aesthetic frames including: Ancient Greek philosophy; Nietzsche&rsquo;s reconsideration of the concept of truth; principles of formal logic; literature; the time-image as crystallization; and the filmmakers he thinks are particularly influential in creating the time-image. As a precursor to the publication of Deleuze&rsquo;s second of two volumes on cinema, &lt;em&gt;Cinema 2: The Time-Image&lt;/em&gt; (1985), 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 session 10, 31 January 1984, discussing circumstances that determined the revolution resulting in questioning the sensorimotor situation, Deleuze includes Rossellini, Resnais and Ozu in this reversal. After Two Japanese students intervene and challenge Deleuze&rsquo;s conception of the time-image as still life, Deleuze reviews the distinctions he has already detailed to distinguish the optical-sound situation (empty interiors and exteriors) from the direct time-image (still life) and emphasizes how Ozu&rsquo;s film technique shifts entirely from the sensorimotor schema. Then, Deleuze carefully reviews the previous session&rsquo;s four stages of the burlesque with specific traits and representatives, the fourth stage presenting the &ldquo;new burlesque&rdquo; of the pure optical and sound situation (Jerry Lewis &amp; Jacques Tati) with the rise of diverse forms of electronics. Returning to philosophy, Deleuze recounts the Greeks&rsquo; indirect image of time through a vast cosmic machine, the &ldquo;planetarium&rdquo;, with aberrations of movement within movement threatening to tip the world into time freed of movement. Deleuze outlines the Greeks&rsquo; conception of different sorts of aberrations &mdash; at once mathematical, physical, psycho-political, and economic &mdash; and following Aristotle, he develops the hierarchy of beings, in which anomalies exist between each level.&lt;/p&gt;

&lt;p&gt;This dataset includes: the complete French transcription and English translation of the recorded lecture in Open Document Text (odt) format, the complete recording in mp3 format, and the original Paris 8 French transcript.&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;Cin&eacute;ma, v&eacute;rit&eacute; et temps: le faussaire&raquo; &eacute;tait un s&eacute;minaire de 22 conf&eacute;rences donn&eacute; de novembre 1983 &agrave; juin 1984. En tant que pr&eacute;curseur de la publication du deuxi&egrave;me de deux volumes de Deleuze sur le cin&eacute;ma, &lt;em&gt;Cin&eacute;ma II. L&#39;Image-temps&lt;/em&gt; (1985), 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 s&eacute;ance 10, le 31 janvier 1984, Deleuze &eacute;voque les circonstances qui ont d&eacute;termin&eacute; la r&eacute;volution qui a conduit &agrave; remettre en question la situation sensorimotrice, avec Rossellini, Resnais et Ozu compris dans ce renversement. Apr&egrave;s l&rsquo;intervention de deux &eacute;tudiants japonais qui remettent en question la conception de Deleuze de l&rsquo;image-temps comme nature morte, Deleuze revient sur les distinctions qu&rsquo;il a d&eacute;j&agrave; d&eacute;taill&eacute;es pour distinguer la situation optique-sonore (int&eacute;rieurs et ext&eacute;rieurs vides) de l&rsquo;image-temps directe (nature morte). Deleuze revient ensuite avec attention sur les quatre &eacute;tapes du burlesque de la s&eacute;ance pr&eacute;c&eacute;dente, avec des traits et des repr&eacute;sentants sp&eacute;cifiques, la quatri&egrave;me &eacute;tape pr&eacute;sentant le &laquo; nouveau burlesque &raquo; de la situation purement optique et sonore (Jerry Lewis et Jacques Tati) avec l&rsquo;essor de diverses formes d&rsquo;&eacute;lectronique. De retour &agrave; la philosophie, Deleuze &eacute;voque l&rsquo;image indirecte que les Grecs se faisaient du temps &agrave; travers une vaste machine cosmique, le &laquo; plan&eacute;tarium &raquo;, o&ugrave; les aberrations du mouvement dans le mouvement mena&ccedil;aient de faire basculer le monde dans un temps lib&eacute;r&eacute; du mouvement. Deleuze expose les diff&eacute;rentes conceptions des Grecs concernant les aberrations &mdash; &agrave; la fois math&eacute;matiques, physiques, psychopolitiques et &eacute;conomiques &mdash; et, suivant Aristote, il d&eacute;veloppe la hi&eacute;rarchie des &ecirc;tres, dans laquelle des anomalies existent entre chaque niveau.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 31 January 1984. This is lecture 10 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.