DOI: 10.4231/v485-kc84
title: Cinema 1: The Movement-Image, Lecture 4, 01 December 1981

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 01 December 1981 lecture, Deleuze applies Bergson&#39;s three theses of movement to cinema. Other topics of discussion include Bergson&#39;s &lt;em&gt;Creative Evolution&lt;/em&gt; (Chs. 1 and 4), &lt;em&gt;The Creative Mind: An Introduction to Metaphysics &lt;/em&gt;(&lt;em&gt;La Pens&eacute;e et le mouvant&lt;/em&gt;), and the later chapters of his &lt;em&gt;Matter and Memory&lt;/em&gt;; the three types of movement-images: perception, action and affection; Bergson and phenomenology; the German philosopher Edmund Husserl; the question of the reproduction and the perception of movement; French philosopher Maurice Merleau-Ponty; photography, the black screen, light and darkness; the imagination as revealed by cinema; the relationships between matter, image, movement and its cinematographic evidence; the movement-image and perception; things in themselves as perceptions; and Whitehead and his concept of prehension.&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 1er d&eacute;cembre 1981, Deleuze applique les trois th&egrave;ses de Bergson sur le mouvement au cin&eacute;ma. D&#39;autres sujets de discussion comprennent &lt;em&gt;L&#39;&Eacute;volution cr&eacute;atrice&lt;/em&gt; de Bergson (chapitres 1 et 4), sa &lt;em&gt;La Pens&eacute;e et le mouvant&lt;/em&gt;, et les chapitres suivants de sa &lt;em&gt;Mati&egrave;re et m&eacute;moire&lt;/em&gt;; les trois types d&#39;images-mouvement: perception, action et affection; Bergson et la ph&eacute;nom&eacute;nologie; le philosophe allemand Edmund Husserl; la question de la reproduction et de la perception du mouvement; le philosophe fran&ccedil;ais Maurice Merleau-Ponty; la photographie et l&#39;&eacute;cran noir, lumi&egrave;re et obscurit&eacute;; l&#39;imagination comme r&eacute;v&eacute;l&eacute;e par le cin&eacute;ma; les relations entre la mati&egrave;re, l&#39;image, le mouvement et ses &eacute;vidence cin&eacute;matographique; l&rsquo;image-mouvement et perception; les choses en elles-m&ecirc;mes sont perceptions; et Whitehead et son concept de pr&eacute;hension.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 01 December 1981. This is lecture 4 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.