DOI: 10.4231/gc48-s475
title: Cinema 1: The Movement-Image, Lecture 17, 04 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 04 May 1982 lecture, topics of discussion include: the large and small forms of cinema; the cinema of the post-war period; the questioning of the plot; the Company-city, Hollywood and New York; two aspects of the American dream: 1) the founding crucible of minorities constituting the same nation, and 2) the American capacity to change the situation; the crisis of the image, the image list and the technical evolution; the novel; the American novelist and artist John Dos Passos; the rupture of American cinema with the two forms of the action-image; the urban ballad and its non-formative aspect; the urban spaces of American director Sidney Lumet; the American director Martin Scorsese; the Greek-American director John Cassavetes; the American comedian and director Woody Allen; the random sequence of events; the Actors Studio; the game and the players; the non-belonging of the event and the actor; three characteristics of the concept of the news item (&lt;em&gt;le fait divers&lt;/em&gt;): 1) a series of events taken (&lt;em&gt;pr&eacute;lev&eacute;s&lt;/em&gt;) from a dispersive reality, 2) the event in the process of becoming (&lt;em&gt;se faire&lt;/em&gt;), and 3) the event that belongs only partially, or not at all, to whom it happens; the world of clich&eacute;-images, sounds or optics and outsides or insides; the physical and mental universe of clich&eacute;; news, biographies and the eye of the camera; and the refrain.&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 4 mai 1982, les sujets de discussion comprennent: la grande forme et la petite forme du cin&eacute;ma; le cin&eacute;ma de l&#39;Apr&egrave;s-guerre; la mise en question de l&#39;intrigue; la ville-Compagnie, Hollywood et New York; les deux aspects du r&ecirc;ve am&eacute;ricain: 1) le creuset fondateur des minorit&eacute;s constituant la m&ecirc;me nation, et 2) la capacit&eacute; des am&eacute;ricaines au changement de la situation; la crise de l&#39;image, la liste de l&rsquo;image et l&#39;&eacute;volution technique; le roman; le romancier et artiste am&eacute;ricain John Dos Passos; la rupture du cin&eacute;ma am&eacute;ricain avec les deux formes de l&#39;image-action; la ballade urbaine et son aspect non formateur; les espaces urbains du r&eacute;alisateur am&eacute;ricain Sidney Lumet; le r&eacute;alisateur am&eacute;ricain Martin Scorsese; le r&eacute;alisateur gr&eacute;co-am&eacute;ricain John Cassavetes; le com&eacute;dien et r&eacute;alisateur am&eacute;ricain Woody Allen; l&rsquo;enchainement d&#39;evenements au hasard; l&rsquo;Actor&rsquo;s Studio; le jeu et les joueurs; la non appartenance de l&#39;&eacute;v&eacute;nement et l&#39;acteur; les trois caract&eacute;ristiques du concept du fait divers: 1) une s&eacute;rie d&#39;&eacute;v&eacute;nements pr&eacute;lev&eacute;s d&#39;une r&eacute;alit&eacute; dispersive, 2) l&#39;&eacute;v&eacute;nement en train de se faire, et 3) l&#39;&eacute;v&eacute;nement qui n&#39;appartient qu&rsquo;en partie, ou pas du tout, &agrave; celui &agrave; qui ҫa arrive; le monde des images-clich&eacute;s, les sonores ou les optiques et les ext&eacute;rieurs ou les int&eacute;rieurs; l&#39;univers physique et mental du clich&eacute;; les actualit&eacute;s, les biographies et l&#39;&oelig;il de la cam&eacute;ra; et la ritournelle.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 04 May 1982. This is lecture 17 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.