DOI: 10.4231/db4s-fe94
title: Cinema 1: The Movement-Image, Lecture 18, 11 May 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 11 May 1982 lecture, Deleuze provides a summary of the course to date. Other topics of discussion include: Burlesque; the small form; American comedians and filmmakers of the silent era Buster Keaton and Harold Lloyd; Charlie Chaplin; the pure optical situation and the view of the intolerable; the clich&eacute;-image; the sensory-motor situation (which no longer is, and only appeared to be, the upheaval, or fear, in excess); Italian film director Roberto Rossellini&#39;s &lt;em&gt;Europe &#39;51&lt;/em&gt; (&lt;em&gt;Europa &#39;51&lt;/em&gt;); the eye of the spectator; the neo-realist image; the art of encounters (rencontres); the child in Italian neo-realist film; the French New Wave; and the French filmmaker Jacques Tati.&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;Note that the shift between the session&rsquo;s first part (on the burlesque) to the second (on Italian neo-realism) is quite abrupt, and both the session&#39;s shortness (84 minutes) and this abrupt shift suggest the possibility that a missing cassette resulted in the middle section being omitted.&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 11 mai 1982, Deleuze fournit un r&eacute;sum&eacute; du cours &agrave; ce jour. Les autres sujets de discussion comprennent: Burlesque; la petite forme; les com&eacute;diens et cin&eacute;astes am&eacute;ricains de l&#39;&egrave;re silencieuse Buster Keaton et Harold Lloyd; Charlie Chaplin; la situation optique pure et la vue de l&#39;intol&eacute;rable; l&rsquo;image-clich&eacute;; la situation sensori-motrice (qui n&#39;est plus, qui n&rsquo; &eacute;tait qu&rsquo;en apparence, le bouleversement, la peur, en exc&egrave;s); &lt;em&gt;Europe 51&lt;/em&gt; du r&eacute;alisateur italien Roberto Rossellini; l&#39;oeil du spectateur; l&#39;image n&eacute;or&eacute;aliste; l&#39;art des rencontres; l&#39;enfant dans le cin&eacute;ma n&eacute;or&eacute;aliste italien; la Nouvelle Vague; et le cin&eacute;aste fran&ccedil;ais Jacques Tati.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 11 May 1982. This is lecture 18 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.