DOI: 10.4231/tt6t-j475
title: Cinema 1: The Movement-Image, Lecture 20, 25 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 25 May 1982 lecture, topics of discussion include: memory; time; Bergson; contractions of time; the cinematographic image and thought; the four major modes of thought: 1) the imaginary mode, with consideration of the Italian film director Federico Fellini; 2) the didactic mode, with consideration of the later films of Roberto Rossellini, and Jean-Marie Straub; 3) the critical mode, with consideration of Jean-Luc Godard; and 4) the transcendental mode, with consideration of the time of thought and that thought takes time; the sub-modes of the four major modes; and the cinema with text, with plot (&lt;em&gt;intrigue&lt;/em&gt;), as the sensory-motor, action-image cinema.&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;--&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 25 mai 1982, les sujets de discussion comprennent: la m&eacute;moire; le temps; Bergson; les contractions du temps; l&#39;image cin&eacute;matographique et la pens&eacute;e; les quatre grand modes de pens&eacute;e: 1) le mode imaginaire, avec la consid&eacute;ration du r&eacute;alisateur italien Federico Fellini; 2) le mode didactique, avec la consid&eacute;ration des films derniers de Roberto Rossellini, et Jean-Marie Straub; 3) le mode critique, avec la consid&eacute;ration de Jean-Luc Godard; et 4) le mode transcendantal, avec la consid&eacute;ration du temps de la pens&eacute;e et cette la pens&eacute;e prend du temps; les sous-modes des quatre grands modes; et le cin&eacute;ma &agrave; texte, &agrave; intrigue, c&rsquo;est le cin&eacute;ma de l&rsquo;image-action, sensori-motrice.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 25 May 1982. This is lecture 20 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.