DOI: 10.4231/exwf-1295
title: Cinema, Truth, and Time: The Falsifier: Lecture 9, 24 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 9, 24 January 1984, after reviewing the four characteristics of the reversal of the relations of movement and time developed in the previous session, Deleuze hypothesizes that through these anomalies of movement, a &lt;em&gt;direct&lt;/em&gt; time-image might emerge. Then, after shifting briefly to the initiation of pure optical-sound situations, suggesting that an entire pedagogy of the image emerges, Deleuze again shifts toward a direct time-image with the four phases of burlesque in cinema, on one hand, Jerry Lewis and Jacques Tati, and on the other, musical comedy. Through Bergson, Deleuze proposes a system of circuits (physical and mental, real and imaginary) through which the crystalline description emerges as well as the falsifying crystalline narration (e.g., Godard, Antonioni and Ozu). Deleuze seeks an alternate means to analyze the image, and Ozu serves to examine the direct time-image, contrasted with Antonioni and an article by Paul Schrader. Deleuze links Ozu to the development of still-life in C&eacute;zanne, the unchangeable form of what changes, the pure optical sound situation, the direct time-image.&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 9, le 24 janvier 1984, apr&egrave;s avoir rappel&eacute; les quatre caract&eacute;ristiques du renversement des rapports du mouvement et du temps d&eacute;velopp&eacute;es dans la s&eacute;ance pr&eacute;c&eacute;dente, Deleuze &eacute;met l&rsquo;hypoth&egrave;se qu&rsquo;&agrave; travers ces anomalies du mouvement, une image-temps &lt;em&gt;directe&lt;/em&gt; pourrait &eacute;merger. Puis, apr&egrave;s avoir bri&egrave;vement gliss&eacute; vers l&rsquo;initiation de situations purement optiques-sonores, sugg&eacute;rant qu&rsquo;&eacute;merge toute une p&eacute;dagogie de l&rsquo;image, Deleuze s&rsquo;oriente &agrave; nouveau vers une image-temps directe avec les quatre phases du burlesque au cin&eacute;ma, d&rsquo;un c&ocirc;t&eacute; Jerry Lewis et Jacques Tati, de l&rsquo;autre la com&eacute;die musicale. &Agrave; travers Bergson, Deleuze propose un syst&egrave;me de circuits (physiques et mentaux, r&eacute;els et imaginaires) &agrave; travers lesquels &eacute;mergent la description cristalline ainsi que la narration cristalline falsifiante (par exemple Godard, Antonioni et Ozu). Deleuze cherche un moyen alternatif d&rsquo;analyser l&rsquo;image, et Ozu sert &agrave; examiner l&rsquo;image-temps directe, contrastant avec Antonioni et un article de Paul Schrader. Deleuze relie Ozu au d&eacute;veloppement de la nature morte chez C&eacute;zanne, &agrave; la forme immuable de ce qui change, &agrave; la situation sonore purement optique, &agrave; l&rsquo;image-temps directe.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 24 January 1984. This is lecture 9 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.