DOI: 10.4231/ze7w-c154
title: Cinema, Truth, and Time: The Falsifier: Lecture 18, 15 May 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 18, 15 May 1984, Deleuze explores facets of the direct time-image in cinema, turning to the special conditions of the crystal-image, and drawing on crystallography, Deleuze argues that the actual becomes virtual while the virtual simultaneously becomes actual, thus a crystal-image as a time seed in which time is visible. Deleuze turns to the non-sensorimotor situation, cut off from sensorimotor extensions by considering numerous examples. Deleuze points to the possibility of linking images in a circuit between actual and virtual images, and with Bergson&rsquo;s term &ldquo;attentive recognition&rdquo;, Deleuze outlines the circuit process between actual and virtual, coalescing a consolidation of levels of recollection (cf. Marcel Carn&eacute;&rsquo;s &ldquo;Le Jour se l&egrave;ve&rdquo;). Distinguishing the recollection-image from the flashback, Deleuze suggests how Mankiewicz employs fundamental bifurcations of time in the recollection-image. Again with Bergson, Deleuze shifts toward the role of the dream-image (cf. Ren&eacute; Clair, Bu&ntilde;uel, Harry Hathaway, Buster Keaton).&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 18, le 15 mai 1984, Deleuze explore les facettes de l&rsquo;image-temps directe au cin&eacute;ma, en se tournant vers les conditions particuli&egrave;res de l&rsquo;image-cristal et en s&rsquo;appuyant sur la cristallographie, Deleuze soutient que l&rsquo;actuel devient virtuel tandis que le virtuel devient simultan&eacute;ment actuel, ainsi une image-cristal comme graine de temps dans laquelle le temps est visible. Deleuze se tourne vers la situation non sensorimotrice, coup&eacute;e des extensions sensorimotrices en consid&eacute;rant de nombreux exemples. Deleuze souligne la possibilit&eacute; de relier les images dans un circuit entre images r&eacute;elles et virtuelles, et avec le terme de Bergson &laquo; reconnaissance attentive &raquo;, Deleuze d&eacute;crit le processus de circuit entre r&eacute;el et virtuel, en fusionnant une consolidation des niveaux de souvenir (cf. &laquo; Le Jour se l&egrave;ve &raquo; de Marcel Carn&eacute;). En distinguant l&rsquo;image-souvenir du flashback, Deleuze sugg&egrave;re comment Mankiewicz utilise les bifurcations fondamentales du temps dans l&rsquo;image-souvenir. Toujours avec Bergson, Deleuze se d&eacute;place vers le r&ocirc;le de l&#39;image du r&ecirc;ve (cf. Ren&eacute; Clair, Bu&ntilde;uel, Harry Hathaway, Buster Keaton).&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 15 May 1984. This is lecture 18 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.