DOI: 10.4231/br5m-7358
title: Cinema, Truth, and Time: The Falsifier: Lecture 7, 10 January 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 7, 10 January 1984, after recalling the seminar&rsquo;s theme &mdash; the crisis of truth under the effects of time &ndash;, Deleuze insists that the notion of truth is put into crisis through time&rsquo;s force in the form of the paradox of contingent futures (with its two paradoxes), with the organic form of the true entering into crisis. Deleuze returns to previous seminars to contrast the sensorimotor recognition with attentive recognition, and then to study how the form or force of time operates in order to place truth into question, Deleuze focuses, first, on the time-movement&rsquo;s reversal that liberates the pure force of time, and second, on how modern cinema was created as a form of placing movement into question. After considering ways that this reversal arises in different film authors (Welles, Resnais, Mankiewicz), Deleuze concludes that what is in question is at once a reversal of time&rsquo;s subordination in relation to movement and in relation to memory, with how this occurred in Kant&rsquo;s philosophy as well as in Ozu&rsquo;s cinema for study at the next session.&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 7, le 10 janvier 1984, apr&egrave;s avoir rappel&eacute; le th&egrave;me du s&eacute;minaire &ndash; la crise de la v&eacute;rit&eacute; sous l&rsquo;effet du temps &ndash;, Deleuze insiste sur le fait que la notion de v&eacute;rit&eacute; est mise en crise par la force du temps sous la forme du paradoxe des futurs contingents (avec ses deux paradoxes), la forme organique du vrai entrant en crise. Deleuze revient sur les s&eacute;minaires pr&eacute;c&eacute;dents pour opposer la reconnaissance sensorimotrice &agrave; la reconnaissance attentive, puis Deleuze s&rsquo;int&eacute;resse, d&rsquo;abord, au renversement du temps-mouvement qui lib&egrave;re la force pure du temps, et ensuite, &agrave; la mani&egrave;re dont le cin&eacute;ma moderne s&rsquo;est cr&eacute;&eacute; comme une forme de mise en question du mouvement. Apr&egrave;s avoir examin&eacute; les modalit&eacute;s selon lesquelles ce renversement se produit chez diff&eacute;rents auteurs de cin&eacute;ma (Welles, Resnais, Mankiewicz), Deleuze conclut qu&rsquo;il s&rsquo;agit &agrave; la fois d&rsquo;un renversement de la subordination du temps par rapport au mouvement et par rapport &agrave; la m&eacute;moire, avec la mani&egrave;re dont cela s&rsquo;est produit dans la philosophie de Kant ainsi que dans le cin&eacute;ma d&rsquo;Ozu pour &eacute;tude lors de la prochaine s&eacute;ance.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 10 January 1984. This is lecture 7 of a 22-lecture seminar Deleuze taught between November 1983 and June 1984.