DOI: 10.4231/a45x-vc14
title: Cinema 1: The Movement-Image, Lecture 10, 23 February 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 23 February 1982 lecture, topics of discussion include: the affection-image and the two poles of the face; the Expressionist halo; Austrian-American film director Josef von Sternberg and the reflective face; the face as a communication between an individuating factor and a social factor; the trinity of the face; the close-up and appearance; persona, the role of the actor and social roles; the Swedish director Ingmar Bergman; the criteria of individuation; the incommunicability, nakedness, appearance and eroticism of the face; the English director Alfred Hitchcock; ghosts as faces; the German-language writer Franz Kafka; the manifold (&lt;em&gt;divers&lt;/em&gt;) facts of thought; technology as productive of ghosts; German filmmaker, writer and photographer Wim Wenders; and the ghostly lineage.&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 23 f&eacute;vrier 1982, les sujets de discussion comprennent: l&#39;image-affection et les deux p&ocirc;les du visage; le halo expressionniste; le r&eacute;alisateur austro-am&eacute;ricain Josef von Sternberg et le visage r&eacute;fl&eacute;chi; le visage communique entre facteur individuant et facteur social; la trinit&eacute; du visage; le gros plan et l&#39;apparence; la &lt;em&gt;persona&lt;/em&gt;, le r&ocirc;le de l&#39;acteur et les r&ocirc;les sociaux; le r&eacute;alisateur su&eacute;dois Ingmar Bergman; les crit&egrave;res d&#39;individuation; l&#39;incommunicabilit&eacute;, la nudit&eacute;, l&#39;apparence et l&#39;&eacute;rotisme du visage; le r&eacute;alisateur anglais Alfred Hitchcock; les fant&ocirc;mes sont des visages; l&#39;&eacute;crivain germanophone Franz Kafka; les faits divers de la pens&eacute;e; la technologie produit des fant&ocirc;mes; le cin&eacute;aste, &eacute;crivain et photographe allemand Wim Wenders; et la lign&eacute;e fantomatique.&lt;/p&gt;
description: Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 23 February 1982. This is lecture 10 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.