DOI: 10.4231/4y3e-3680
title: Cinema 1: The Movement-Image, Lecture 7, 19 January 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 19 January 1982 lecture, Deleuze analyzes the three levels of the perception-image specifically: the second level, with consideration of Bergson and the two systems of perception from &lt;em&gt;Matter and Memory&lt;/em&gt; (Ch. 1); and the third level, with consideration of the genetic definition of the perception-image and its two poles. Other topics of discussion include: Pasolini; the objective system (documentary) and the subjective system (drama); French film director Jean Gr&eacute;millon and his &lt;em&gt;Stormy Waters&lt;/em&gt; (&lt;em&gt;Remorques&lt;/em&gt;); American theatre and film director Joseph Losey, his film &lt;em&gt;Eva&lt;/em&gt;, and the liquid image; the earthly image (the Western); Eisenstein&#39;s &lt;em&gt;Battleship Potemkin&lt;/em&gt; (&lt;em&gt;Bronenosets Potyomkin&lt;/em&gt;); the skies of American director John Ford; the poles of perception and the confrontation between the subjective image and the objective image; French director Jean Vigo and his film &lt;em&gt;L&#39;Atalante&lt;/em&gt;; Soviet documentary film director and cinema theorist Dziga Vertov and &ldquo;the camera delivering us the real as it is&rdquo;, the &ldquo;cine-eye&rdquo;; an article on Vertov by American art and film critic Annette Michelson; French filmmaker and film theorist Jean Mitry; Dutch documentary filmmaker Joris Ivens; German film director Walter Ruttmann; C&eacute;zanne and the painter&#39;s human eye (from an interview with French writer Joachim Gasquet); American non-narrative filmmaker Stan Brakhage; the photogram of the movement-image; the kinetic theory of gases; and American artist, writer, and filmmaker George Landow.&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;Note: 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 19 janvier 1982, Deleuze analyse les trois niveaux de l&#39;image-perception, sp&eacute;cifiquement: le 2&egrave; niveau, avec consideration de Bergson et des deux syst&egrave;mes de perception de la &lt;em&gt;Mati&egrave;re et m&eacute;moire&lt;/em&gt; (premier chapitre); et le 3&egrave; niveau, avec consideration de la d&eacute;finition g&eacute;n&eacute;tique de l&#39;image-perception et de ses deux p&ocirc;les. Les autres sujets de discussion incluent: Pasolini; le syst&egrave;me objectif (le documentaire) et le syst&egrave;me subjectif (le drame); le r&eacute;alisateur fran&ccedil;ais Jean Gr&eacute;millon et ses &lt;em&gt;Remorques&lt;/em&gt;; le r&eacute;alisateur du th&eacute;&acirc;tre et du film am&eacute;ricain Joseph Losey, son film &lt;em&gt;Eva&lt;/em&gt;, et l&#39;image liquide; l&#39;image terrestre (le western); &lt;em&gt;le cuirass&eacute; Potemkine&lt;/em&gt; de Eisenstein; le ciel du r&eacute;alisateur am&eacute;ricain John Ford; les p&ocirc;les de la perception et la confrontation entre l&#39;image subjective et l&#39;image objective; le r&eacute;alisateur fran&ccedil;ais Jean Vigo et son film &lt;em&gt;L&#39;Atalante&lt;/em&gt;; le r&eacute;alisateur de films documentaires et th&eacute;oricien du cin&eacute;ma sovi&eacute;tiques Dziga Vertov et &laquo;la cam&eacute;ra nous livrant le r&eacute;el tel qu&#39;il est&raquo;, le &laquo;cin&eacute;-&oelig;il&raquo;; un article sur Vertov de la critique d&#39;art et de cin&eacute;ma am&eacute;ricaine Annette Michelson; le cin&eacute;aste et th&eacute;oricien du cin&eacute;ma fran&ccedil;ais Jean Mitry; le documentariste n&eacute;erlandais Joris Ivens; le r&eacute;alisateur allemand Walter Ruttmann; C&eacute;zanne et l&#39;&oelig;il humain du peintre (entretiens avec l&#39;&eacute;crivain fran&ccedil;ais Joachim Gasquet); le cin&eacute;aste non-narratif am&eacute;ricain Stan Brakhage; le photogramme de l&#39;image-mouvement; la th&eacute;orie cin&eacute;tique des gaz; et l&#39;artiste, &eacute;crivain et cin&eacute;aste am&eacute;ricain George Landow.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 19 January 1982. This is lecture 7 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.