DOI: 10.4231/1d8n-8788
title: Cinema, Truth, and Time: The Falsifier: Lecture 21, 05 June 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 21, 5 June 1984, Deleuze identifies &ldquo;regimes of crystal-images&rdquo;, several already identified (the perfect crystal-image, Ophuls; the cracked crystal-image, Renoir) and a third regime (the germinal crystal-image, Fellini) in which the signs of time are reversed. Then, introducing a fourth regime (the crystal-image in decomposition, Visconti), Deleuze calls this a world outside the laws of nature and God, one that is also a &ldquo;pure crystal&rdquo;. Approaching the topic of what it is that &ldquo;sees&rdquo; within the crystal, Deleuze suggests that a direct time-image reveals itself in this crystal, i.e., time&rsquo;s essence, leading him to the hypothesis of two direct time-images, one founded on the present, the other on the past, then considering each figure in detail. Deleuze concludes by suggesting that projective geometry, i.e., depth of field, explains choppy, brief montage, and that shadow is introduced through depth of field as a correlate of projective geometry.&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 21, le 5 juin 1984, Deleuze identifie des &laquo; r&eacute;gimes d&rsquo;images-cristal &raquo;, dont plusieurs ont d&eacute;j&agrave; &eacute;t&eacute; identifi&eacute;s (l&rsquo;image-cristal parfaite, Ophuls ; l&rsquo;image-cristal fissur&eacute;e, Renoir), et il introduit un troisi&egrave;me r&eacute;gime (l&rsquo;image-cristal germinale, Fellini) dans lequel les signes du temps sont invers&eacute;s. Puis, introduisant un quatri&egrave;me r&eacute;gime (l&rsquo;image-cristal en d&eacute;composition, Visconti), Deleuze appelle celui-ci un monde hors des lois de la nature et de Dieu, qui est aussi un &laquo; pur cristal &raquo;. Abordant le th&egrave;me de ce qui &laquo; voit &raquo; dans le cristal, Deleuze sugg&egrave;re qu&rsquo;une image-temps directe se r&eacute;v&egrave;le dans ce cristal, c&rsquo;est-&agrave;-dire l&rsquo;essence du temps, ce qui le conduit &agrave; l&rsquo;hypoth&egrave;se de deux images-temps directes, l&rsquo;une fond&eacute;e sur le pr&eacute;sent, l&rsquo;autre sur le pass&eacute;, figures qu&rsquo;il consid&egrave;re en d&eacute;tail. Deleuze conclut en sugg&eacute;rant que la g&eacute;om&eacute;trie projective, c&#39;est-&agrave;-dire la profondeur de champ, explique le montage saccad&eacute; et bref, et que l&#39;ombre est introduite par la profondeur de champ comme corr&eacute;lat de la g&eacute;om&eacute;trie projective.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 05 June 1984. This is lecture 21 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.