DOI: 10.4231/4fn1-k843
title: Cinema, Truth, and Time: The Falsifier: Lecture 5, 13 December 1983

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 5, 13 December 1983, Deleuze pauses discussion of the power of the false, first, to discuss his recurrent topic, &ldquo;what is philosophy?&rdquo;, and then to provide two key expressions summing up Kantian thought, the Hamlet quote, &ldquo;time is out of joint&rdquo;, and the Rimbaud quote, &ldquo;I is an other&rdquo;, the latter as a response to Descartes&rsquo;s Cogito, but also a fundamental transformation of our relation with time. Returning to the session&rsquo;s main theme, Deleuze defines the &ldquo;true world&rdquo; inhabited by the &ldquo;truthful man&rdquo;, a concept, says Deleuze, hidden in plain sight throughout Classical philosophy. Deleuze considers again the falsifier, concluding that the form of the true gave way to the power of the false, then referring to different key texts, including Virginia Woolf, Spinoza&rsquo;s general definition of affects (book III of the &lt;em&gt;Ethics&lt;/em&gt;), and then Nietzsche&rsquo;s formulation: &ldquo;it&rsquo;s what makes us lighter and lighter&rdquo;. Deleuze considers love and the power of existence, optical point of view and perception, time as a force of affect, aspects of the crisis of truth and powers of the false standing in contrast to ancient philosophy&rsquo;s trait of seeking to discover an a priori truth. Deleuze emphasizes modern philosophy&rsquo;s idea of comprehending innovation (notably, Bergson, Whitehead, Sartre), as the very possibility of creating truth.&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 5, le 13 d&eacute;cembre 1983, Deleuze interrompt la discussion sur le pouvoir du faux, d&rsquo;abord pour aborder son sujet r&eacute;current, &laquo; qu&rsquo;est-ce que la philosophie ? &raquo;, puis pour fournir deux expressions cl&eacute;s qui r&eacute;sument la pens&eacute;e kantienne, la citation d&rsquo;Hamlet, &laquo; le temps est d&eacute;traqu&eacute; &raquo;, et la citation de Rimbaud, &laquo; je est un Autre &raquo;, cette derni&egrave;re comme une r&eacute;ponse au Cogito de Descartes, mais aussi une transformation fondamentale de notre rapport au temps. Revenant au th&egrave;me principal de la s&eacute;ance, Deleuze d&eacute;finit le &laquo; monde vrai &raquo; habit&eacute; par &laquo; l&rsquo;homme v&eacute;ridique &raquo;, un concept, dit Deleuze, cach&eacute; &agrave; la vue de tous dans toute la philosophie classique. Deleuze consid&egrave;re &agrave; nouveau le faussire, concluant que la forme du vrai a c&eacute;d&eacute; la place au pouvoir du faux, et se r&eacute;f&eacute;rant ensuite &agrave; diff&eacute;rents textes cl&eacute;s, dont Virginia Woolf, la d&eacute;finition g&eacute;n&eacute;rale des affects de Spinoza (livre III de l&rsquo;&lt;em&gt;&Eacute;thique&lt;/em&gt;), puis la formulation de Nietzsche : &laquo; c&rsquo;est ce qui nous rend de plus en plus l&eacute;gers &raquo;. Deleuze consid&egrave;re l&rsquo;amour et le pouvoir de l&rsquo;existence, le point de vue optique et la perception, le temps comme force affective, les aspects de la crise de la v&eacute;rit&eacute; et les pouvoirs du faux, en contraste avec la philosophie antique qui cherche &agrave; d&eacute;couvrir une v&eacute;rit&eacute; a priori. Deleuze met l&rsquo;accent sur l&rsquo;id&eacute;e de la philosophie moderne de comprendre l&rsquo;innovation (notamment Bergson, Whitehead, Sartre), comme la possibilit&eacute; m&ecirc;me de cr&eacute;er la v&eacute;rit&eacute;.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 13 December 1983. This is lecture 5 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.