No! Please, pity, please! Agh … Agh! Look at all that … yes, both Italian neo-realism and the new French cinema with its two branches, with what is commonly designated as its two branches, namely: the New Wave, on the one hand, which at one time was called (I believe I am not mistaken) the Right Bank, and then the other trend, which was more or less simultaneous, the Resnais tendency.Īnd we will have to look into how it is not the same thing, but for the moment, I am looking for the common denominator. Now a cinema which is based on, or which produces, optical-sound images as pure permits us to group together what? A whole set, a whole set that includes both Italian neo-realism and the two aspects …. All that we have … Damn! … … all we have done is to isolate the notion, the concept, of pure optical-sound images. We’ve left behind the action-image because of everything we’ve done over the last few sessions. As a matter of fact, I would have liked us to have already left behind the action-image without realizing it, and perhaps also to have got a bit further on besides. You can see roughly where we have got to. to the end, and we will have to go very quickly because I would like to do a final session of recapitulation, and above all of recapitulation of all the missed opportunities, where it would be you who would do the talking, pointing out things we have not seen, and which we should have seen, that kind of thing. Transcription: Andrée Manifacier (part 1) and Céline Romagnoli (part 2) supplementary revisions to the transcription and time-stamp, Charles J. On the Movement-Image, Bergsonian Lessons on the Cinema However, the session closes on a question from Georges Comtesse on “Marienbad” who insists that this is not a film about time. He concludes by stating that in this session, he has sketched out the program for another year, namely the problem of time-images in cinema, when the optical and sound images enter into direct relation with the complex temporal structures constituting the very object of cinema. Deleuze reflects on how one makes mental jumps in order to create memory circuits of recognition, linking this to an introduction of a study of time in Resnais. Then, in the second part, he returns to Bergson’s Matter and Memory to consider nuances around memories and perceptions, and he discusses in this vein Wyler’s “Jezebel”, Orson Welles’s “Citizen Kane”, and Resnais and Robbe-Grillet’s “Last Year in Marienbad”. Drawing from Robbe-Grillet’s reorientation of realism toward surfaces and lines, referring to a total subjectivity, Deleuze takes Scorsese’s “Taxi Driver” as an exemplar. After outlining the commonalities between the French New Novel and the New Wave cinema (of the 1950s-1960s), and Robbe-Grillet’s four propositions on the New Novel, Deleuze traces what he calls the collapse of previous, traditional sensory-motor situations (e.g., the old realism, the action-image) which prepares the emergence of pure optical and sound situations. Once he gains greater ease gradually, the session corresponds generally to different sections of The Time-Image (notably, chapters 1 and 3). Unfortunately, the session (the first thirty minutes in particular) reveals Deleuze to be uncommonly disturbed by a loudly squeaking door due to students’ comings and goings, and as a result, his focus is constantly broken, agitating him, producing several breaks. Alain Resnais & Alain Robbe-Grillet, L’année dernière à Marienbad (Last Year at Marienbad), 1962.ĭeleuze continues to confront the concept of pure optical and sound images outlined in the previous session based on Italian Neo-Realism and the different branches of French New Wave, thus beginning to recap the first year’s study of the movement-image with some examples presented concisely in chapter 1 of The Time-Image.
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