DOI: 10.4231/ac3x-7z73
title: Cinema, Truth, and Time: The Falsifier: Lecture 22, 12 June 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 22, 12 June 1984, Deleuze summarizes the two forms of direct time-image and defines the two formulations of the direct time-image as coexistences: simultaneity of deactualized points of presents (present of present, present of past, present of future), and coexistence of sheets of virtual past (cf. Welles compared to Classical and Baroque thought and art) and sheets of virtual past without centers (cf. Resnais&rsquo;s and Welles&rsquo;s preoccupations). Deleuze provides a list of 5 end-of-year conclusions, and through these five points, Deleuze has detailed two great regimes of the image, especially their intersections, and he points out the two regimes constantly impinge on one another. To illustrate artists&rsquo; creative originality, notably of the powers of the false linked to description and narration, Deleuze points to several film examples (Varda&rsquo;s &ldquo;Documenteur&rdquo;, Robbe-Grillet&rsquo;s &ldquo;L&rsquo;Homme qui ment&rdquo;, Welles&rsquo;s &ldquo;F for Fake&rdquo;) and also indicates how Nietzsche endowed falsity with the power of the false, notably &ldquo;will to power&rdquo; as power of the false. Since at its highest degree, this is a will to metamorphosis, a force to create truth, Deleuze insists that this is not the &ldquo;truthful man&rsquo;s&rdquo; truth, i.e., a truth to be created, just like the task of philosophy. Deleuze closes by contrasting these two senses of truth and, indeed, of knowledge.&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 22, le 12 juin 1984, Deleuze r&eacute;sume les deux formes de l&rsquo;image-temps directe et d&eacute;finit les deux formulations de l&rsquo;image-temps directe comme des coexistences : simultan&eacute;it&eacute; de points de pr&eacute;sents d&eacute;sactualis&eacute;s (pr&eacute;sent du pr&eacute;sent, pr&eacute;sent du pass&eacute;, pr&eacute;sent du futur), et coexistence de nappes de pass&eacute; virtuel (cf. Welles compar&eacute; &agrave; la pens&eacute;e et &agrave; l&rsquo;art classiques et baroques) et de nappes de pass&eacute; virtuel sans centres (cf. les pr&eacute;occupations de Resnais et Welles). Deleuze dresse une liste de 5 conclusions de fin d&rsquo;ann&eacute;e, et &agrave; travers ces cinq points, Deleuze a d&eacute;taill&eacute; deux grands r&eacute;gimes de l&rsquo;image, en particulier leurs intersections, et il souligne que les deux r&eacute;gimes empi&egrave;tent constamment l&rsquo;un sur l&rsquo;autre. Pour illustrer l&rsquo;originalit&eacute; cr&eacute;atrice des artistes, notamment des pouvoirs du faux li&eacute;s &agrave; la description et &agrave; la narration, Deleuze cite plusieurs exemples de films (&laquo; Le Documenteur &raquo; de Varda, &laquo; L&rsquo;Homme qui ment &raquo; de Robbe-Grillet, &laquo; F comme Fake &raquo; de Welles) et indique &eacute;galement comment Nietzsche a dot&eacute; la fausset&eacute; avec le pouvoir du faux, notamment la &laquo; volont&eacute; de puissance &raquo; comme pouvoir du faux. Puisqu&rsquo;&agrave; son plus haut degr&eacute;, il s&rsquo;agit d&rsquo;une volont&eacute; de m&eacute;tamorphose, d&rsquo;une force de cr&eacute;ation de v&eacute;rit&eacute;, Deleuze insiste sur le fait qu&rsquo;il ne s&rsquo;agit pas de la v&eacute;rit&eacute; de &laquo; l&rsquo;homme v&eacute;ridique &raquo;, c&rsquo;est-&agrave;-dire d&rsquo;une v&eacute;rit&eacute; &agrave; cr&eacute;er, tout comme la t&acirc;che de la philosophie. Deleuze termine en contrastant ces deux sens de la v&eacute;rit&eacute; et, bien s&ucirc;r, de la connaissance.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 12 June 1984. This is lecture 22 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.