#the time image

[beingharsh]

Narrative in cinema is like the imaginary: it’s a very indirect product of motion and time, rather than the other way around. Cinema always narrates what the image’s movements and times make it narrate. If the motion’s governed by a sensory-motor scheme, if it shows a character reacting to a situation, then you get a story. If, on the other hand, the sensory-motor scheme breaks down to leave disoriented and discordant movements, then you get other patterns, becomings rather than stories.

Gilles Deleuze on The Time-Image

[bustakay]

Sergei Eisenstein, ‘A Dialectic Approach to Film Form.’

[heteroglossia]

We no longer believe in a whole as interiority of thought--even an open one; we believe in a force from the outside which hollows itself out, grabs us and attracts the inside. We no longer believe in an association of images--even crossing voids; we believe in breaks which take on an absolute value and subordinate all association [...] The brain cuts or puts to flight all internal associations, it summons an outside beyond any external world.

Gilles Deleuze, Cinema 2: The Time-Image

[arkitekcher]

The Time Image: A Manifold for Contemporary Cinema  |  Amir Mikhaeil

Spring 2012 Advanced Graduate Studio, Yale School of Architecture

- “This is what happens when the image becomes time- image...the screen itself is the cerebral membrane where immediate and direct confrontations take place between the past and the future, the inside and the outside, at a distance impossible to determine, independent of any fixed point. The image no longer has space and movement as its primary characteristics but topology and time” Gilles Deleuze

[thesoviette]

Story-telling is not an impersonal myth, but neither is it a personal fiction: it is a word in act, a speech-act through which the character continually crosses the boundary which would separate his private business from politics, and which itself produces collective utterances.

Gilles Deleuze, "The Time-Image," 222.