DOI: 10.4231/a5dm-fr92
title: Cinema 1: The Movement-Image, Lecture 3, 24 November 1981

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&quot; 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 24 November 1981 lecture, topics of discussion include: Bergson and duration; the movement-image; French filmmaker and writer Jean Epstein and the temporal perspective; natural perception; German film director F.W. Murnau and his film &lt;em&gt;Der letzte Mann &lt;/em&gt;(translated in English as &lt;em&gt;The Last Laugh&lt;/em&gt;); Soviet film director and theorist Sergei Eisenstein and the montage; the dialectic between pathetic and organic movement; French film director and actor Abel Gance and the montage; the intensive factor of movement and light; and framing, temporal perspective and montage.&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 24 novembre 1981, les sujets de discussion incluent: Bergson et la dur&eacute;e; l&#39;image-mouvement; le cin&eacute;aste et &eacute;crivain fran&ccedil;ais Jean Epstein et la perspective temporelle; la perception naturelle; le r&eacute;alisateur allemand F.W. Murnau et son film &lt;em&gt;Le dernier homme&lt;/em&gt;; le r&eacute;alisateur et th&eacute;oricien sovi&eacute;tique Sergei Eisenstein et le montage; la dialectique entre le mouvement path&eacute;tique et le mouvement organique; le r&eacute;alisateur et acteur fran&ccedil;ais Abel Gance et le montage; le facteur intensif de mouvement et la lumi&egrave;re; et le cadrage, la perspective temporelle et le montage.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 24 November 1981. This is lecture 3 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.