DOI: 10.4231/58sa-bd74
title: Cinema, Truth, and Time: The Falsifier: Lecture 17, 24 April 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 17, 24 April 1984, Deleuze summarizes the year&rsquo;s work to date, with the session&rsquo;s third segment to be a double inquiry: to see how a direct image of time or time-image is constructed, as well as &ldquo;time&rdquo; as a concept, and to understand the relations between this concept as philosophical and this image as aesthetic. To demonstrate that montage becomes the operation through which time relations are determined in a direct time-image, Deleuze first points to numerous filmmakers and then refers to &ldquo;Citizen Kane&rdquo; use of depth of field as a function of temporalization, inserting the viewer into a direct time-image. Deleuze also considers &ldquo;flat image&rdquo; that causes an experience of time in a pure state (cf. Dreyer and Ozu), then the emergence of pure optical and sound situations, a &ldquo;clairvoyant cinema&rdquo; (&lt;em&gt;cin&eacute;ma de voyant&lt;/em&gt;), also a &ldquo;cinema of strollers&rdquo; in any-spaces-whatever (&lt;em&gt;cin&eacute;ma de balade&lt;/em&gt;). Deleuze proposes decors in American musical comedy as developing their own value, i.e., the rhythmic relations of time-image (cf.  Donen). Deleuze closes on direct time-images or rhythms creating circuits across different planes of actual images linked to virtual images, to be discussed at the next session.&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 17, le 24 avril 1984, Deleuze offre une r&eacute;capitulation du travail de l&rsquo;ann&eacute;e jusqu&rsquo;&agrave; pr&eacute;sent, le troisi&egrave;me segment de la s&eacute;ance &eacute;tant une double enqu&ecirc;te : voir comment se construit une image directe du temps ou image-temps, ainsi que le &laquo; temps &raquo; en tant que concept, et comprendre les relations entre ce concept en tant que philosophique et cette image en tant qu&rsquo;esth&eacute;tique. Pour d&eacute;montrer que le montage devient l&rsquo;op&eacute;ration par laquelle les relations temporelles sont d&eacute;termin&eacute;es dans une image-temps directe, Deleuze examine d&rsquo;abord plusieurs cin&eacute;astes, puis se r&eacute;f&egrave;re &agrave; l&rsquo;utilisation de la profondeur de champ comme fonction de temporalisation dans &laquo; Citizen Kane &raquo;, ins&eacute;rant le spectateur dans une image-temps directe. Deleuze consid&egrave;re &eacute;galement &laquo; l&rsquo;image plate &raquo; qui provoque une exp&eacute;rience du temps &agrave; l&rsquo;&eacute;tat pur (cf. Dreyer et Ozu), puis l&rsquo;&eacute;mergence de situations optiques et sonores pures, un &laquo; cin&eacute;ma de voyant &raquo; ou encore un &laquo; cin&eacute;ma de balade &raquo; dans un espace quelconque (cin&eacute;ma de balade). Deleuze propose que les d&eacute;cors de la com&eacute;die musicale am&eacute;ricaine d&eacute;veloppent leur propre valeur, c&#39;est-&agrave;-dire les relations rythmiques entre le temps et l&#39;image (cf. Donen). Deleuze conclut sur les images-temps directes ou les rythmes cr&eacute;ant des circuits &agrave; travers diff&eacute;rents plans d&#39;images r&eacute;elles li&eacute;es &agrave; des images virtuelles, qui seront discut&eacute;es lors de la prochaine s&eacute;ance.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 24 April 1984. This is lecture 17 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.