DOI: 10.4231/58mc-vf72
title: Cinema, Truth, and Time: The Falsifier: Lecture 14, 20 March 1984

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 14, 20 March 1984, Deleuze proposes a deeper analysis of the crystal-image, expressing the need to consider both its optical and sound properties as well as their links to time. Deleuze reflects on music in film, notably the western (&ldquo;High Noon&rdquo;), musical comedy, the Fellini-Nino Rota intersection, creation of different kinds of refrain-gallop pieces (cf.  Cl&eacute;ment Rosset on the refrain-gallop), and then the refrain qualities of Ravel&rsquo;s &ldquo;Bol&eacute;ro&rdquo;. Returning then to the intensive movement of the soul following the series of powers, Deleuze points particularly to Nicholas of Cusa&rsquo;s concept &ldquo;possest&rdquo;, that is, immanence or power (&lt;em&gt;puissance&lt;/em&gt;). Moving into a &ldquo;second part,&rdquo; Deleuze asks: how is time going to emerge as number of this movement? To answer, he draws details from Neo-Platonists&rsquo; distinctions, notably from Damascius, on &ldquo;ai&ocirc;n&rdquo;, regarding eternity and powers in order to reach the fundamental activity of the soul, that reaching the &ldquo;pure now&rdquo; (or &lt;em&gt;n&ucirc;n&lt;/em&gt;). To conclude, he asks for the next session: how will the synthesis of originary time itself operate and then bring forth fear? To address this, Deleuze suggests finishing the consideration of Plotinus, then proceeding to consider Saint Augustine, followed by Kant.&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 14, le 20 mars 1984, Deleuze propose une analyse plus approfondie de l&rsquo;image cristalline, exprimant la n&eacute;cessit&eacute; de consid&eacute;rer &agrave; la fois ses propri&eacute;t&eacute;s optiques et sonores ainsi que leurs liens avec le temps. Deleuze r&eacute;fl&eacute;chit &agrave; la musique dans le cin&eacute;ma, notamment le western (&laquo; Le train sifflera trois fois &raquo;), la com&eacute;die musicale, l&rsquo;intersection Fellini-Nino Rota, la cr&eacute;ation de diff&eacute;rents types de pi&egrave;ces refrain-galop (cf. Cl&eacute;ment Rosset sur le refrain-galop), puis les qualit&eacute;s de refrain du &laquo; Bol&eacute;ro &raquo; de Ravel. Revenant ensuite au mouvement intense de l&rsquo;&acirc;me suivant la s&eacute;rie des pouvoirs, Deleuze souligne particuli&egrave;rement le concept de &laquo; possest &raquo; de Nicolas de Cues, c&rsquo;est-&agrave;-dire d&rsquo;immanence ou de puissance. Passant &agrave; une &laquo; deuxi&egrave;me partie &raquo;, Deleuze se demande : comment le temps va-t-il &eacute;merger comme nombre de ce mouvement ? Pour r&eacute;pondre, il s&rsquo;appuie sur les distinctions des n&eacute;oplatoniciens, notamment de Damascius, sur &laquo; l&rsquo;ai&ocirc;n &raquo;, l&rsquo;&eacute;ternit&eacute; et les pouvoirs pour atteindre l&rsquo;activit&eacute; fondamentale de l&rsquo;&acirc;me, celle qui atteint le &laquo; pur maintenant &raquo; (ou n&ucirc;n). Pour conclure, il demande pour la s&eacute;ance suivante : comment va s&rsquo;op&eacute;rer la synth&egrave;se du temps originaire lui-m&ecirc;me et faire ensuite surgir la peur ? Pour y r&eacute;pondre, Deleuze propose de terminer la consid&eacute;ration de Plotin, puis de passer &agrave; la consid&eacute;ration de saint Augustin, puis de Kant.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 20 March 1984. This is lecture 14 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.