DOI: 10.4231/qxt4-1t05
title: Cinema, Truth, and Time: The Falsifier: Lecture 8, 17 January 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 8, 17 January 1984, Deleuze proposes studying the process of a reversal of time&rsquo;s subordination in relation both to movement and memory in philosophy and cinema, outlining a two-faceted historical set, four philosophical moments (from Antiquity to the 17th century; the Kantian reversal, and beyond) and four within cinema. Opting to start on the cinema side through different cinema authors (Pasolini, in particular), he notes the importance of montage in relation to the movement-time intersection. Referring to Jean-Louis Schefer&rsquo;s &lt;em&gt;L&rsquo;Homme ordinaire du cin&eacute;ma,&lt;/em&gt; Deleuze emphasizes that what changes is disturbance added to movement, thanks to which cinema is the sole experience where time is rendered as a perception. Deleuze provides an outline for next session: the sensorimotor situation linked to the indirect image of time; the disconnected situation of its sensorimotor extension linked to the direct image of time; these two levels corresponding to Bergson&rsquo;s two forms of recognition, sensorimotor recognition and &ldquo;attentive&rdquo; recognition (of an object&rsquo;s optical and sound description).&lt;/p&gt;

&lt;p&gt;This dataset includes: the complete French transcription and English transltion 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 8, le 17 janvier 1984, Deleuze propose d&rsquo;&eacute;tudier le processus de renversement de la subordination du temps par rapport au mouvement et &agrave; la m&eacute;moire en philosophie et au cin&eacute;ma, en esquissant un ensemble historique &agrave; deux facettes, quatre moments philosophiques (de l&rsquo;Antiquit&eacute; au XVIIe si&egrave;cle ; le renversement kantien et au-del&agrave;) et quatre au sein du cin&eacute;ma. Choisissant de commencer du c&ocirc;t&eacute; du cin&eacute;ma &agrave; travers diff&eacute;rents auteurs du cin&eacute;ma (Pasolini notamment), il note l&rsquo;importance du montage par rapport &agrave; l&rsquo;intersection mouvement-temps. Se r&eacute;f&eacute;rant &agrave; &lt;em&gt;L&rsquo;Homme ordinaire du cin&eacute;ma&lt;/em&gt; de Jean-Louis Schefer, Deleuze souligne que ce qui change, c&rsquo;est la perturbation ajout&eacute;e au mouvement, gr&acirc;ce &agrave; laquelle le cin&eacute;ma est la seule exp&eacute;rience o&ugrave; le temps se rend comme perception. Deleuze donne un aper&ccedil;u pour la s&eacute;ance suivante : la situation sensorimotrice li&eacute;e &agrave; l&rsquo;image indirecte du temps ; la situation d&eacute;connect&eacute;e de son extension sensorimotrice li&eacute;e &agrave; l&rsquo;image directe du temps ; ces deux niveaux correspondant aux deux formes de reconnaissance de Bergson, la reconnaissance sensori-motrice et la reconnaissance &laquo; attentive &raquo; (de la description optique et sonore d&rsquo;un objet).&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 17 January 1984. This is lecture 8 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.