DOI: 10.4231/z1bt-2336
title: Cinema 1: The Movement-Image, Lecture 2, 17 November 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 17 November 1981 lecture, topics of discussion include: Bergson&#39;s three theses of movement; ordinary instants and privileged instants; science and the Open; the All, duration and parts; real time; the All as equivalent to duration; the division of duration into as many sub-durations as there are objects, and the unification of these sub-durations; Bergson and the metaphysics of relativity; the German-born theoretical physicist Albert Einstein; Bergson and the consciousness of separate flows (&lt;em&gt;flux divis&eacute;s&lt;/em&gt;); the unification of the All; the Open, change, duration, and the image; the image-movement, objects, and duration; the framing of cinema; sequence design; montage and the quantity of movement which evokes the idea of the All; and Austrian-American director, actor and producer Erich von Stroheim and duration.&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 17 novembre 1981, les sujets de discussion comprennent: les trois th&egrave;ses de Bergson sur le mouvement; instants quelconques et instants privil&eacute;gi&eacute;s; la science et l&#39;Ouvert; le Tout, la dur&eacute;e et les parties; le temps r&eacute;&eacute;l; le Tout comme &eacute;quivalent de la dur&eacute;e; le division de la dur&eacute;e en autant de sous-dur&eacute;es qu&#39;il y a d&#39;objets, et l&#39;unification de ces sous-dur&eacute;es; Bergson et la m&eacute;taphysique de la relativit&eacute;; le physicien th&eacute;oricien d&#39;origine allemande Albert Einstein; Bergson et la conscience des flux divis&eacute;s; l&#39;unifi&eacute;s du Tout; l&#39;Ouvert, le changement, la dur&eacute;e et l&#39;image; l&#39;image-mouvement, les objets et la dur&eacute;e; le cadrage du cin&eacute;ma; le plan-s&eacute;quence; le montage et la quantit&eacute; de mouvement qui suscite l&#39;id&eacute;e du Tout; et r&eacute;alisateur, acteur et producteur autrichien-am&eacute;ricain Erich von Stroheim et dur&eacute;e.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 17 November 1981. This is lecture 2 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.