Deleuze's Cinema Books
Three Introductions to the Taxonomy of Images
Deleuze’s two Cinema books explore film through the creation of a series of philosophical concepts. Not only bewildering in number, Deleuze’s writing procedures mean his exegesis is both complex and elusive. Three questions emerge: What are the underlying principles of the taxonomy? How many concepts are there, and what do they describe? How might each be used in engaging with a film?
Figures and frames Acknowledgements Abbreviations Preface: a Deleuzian cineosis
Part One Unfolding the Cineosis
Section I – First Introduction – Two Regimes of Images1 Movement-images and time-images: Bergson, image and duration 2 Movement-images: Peirce, semiosis 3 Time-images: Deleuze, syntheses 4 Time-images and movement-images: Bergson, duration and image
Section II – Second Introduction – A Series of Images and Signs1 Perception-images 2 Affection-images 3 Impulse-images (the nascent action-image) 4 Action-images (small form, action → situation) 5 Action-images (large form, situation → action) 6 Attraction-images (first reflection-image
sixth mental-image) 7 Inversion-images (second reflection-image
fifth mental-image) 8 Discourse-images (third reflection-image
fourth mental-image) 9 Dream-images (third mental-image) 10 Recollection-images (second mental-image) 11 Relation-images (first mental-image) 12 Opsigns and sonsigns 13 Hyalosigns 14 Chronosigns 15 Noosigns 16 Lectosigns Afterword to Part One: the unfolded cineosis
Part TWO Enfolding the cineosis
Section III – Third Introduction – Cinematographics (1995–2015)1 Le scaphandre et le papillon/The Diving Bell and the Butterfly. Solid perception 2 Timecode. Liquid perception 3 Naqoyqatsi. Gaseous perception 4 Theeviravaathi/The Terrorist. Icon 5 Despicable Me, Despicable Me 2 and Minions. Dividual 6 Le quattro volte/Four Times. Any-space-whatever 7 The Human Centipede (First Sequence). Symptom 8 Harry Potter and the Deathly Hallows: Part 1 and Harry Potter and the Deathly Hallows: Part 2. Fetish 9 Innocence. Originary World 10 Madeo/Mother. Index of lack 11 The Killer Inside Me. Index of equivocity 12 Ajami. Vector 13 marxism today (prologue) and untitled. Milieu 14 Made in Dagenham. Binomial 15 Fish Tank. Imprint 16 Tian bian yi duo yun/The Wandering Cloud. Plastic figure 17 Scott Pilgrim vs. the World. Theatrical figure 18 Source Code. Mise en abyme 19 Four Lions. Figure of the sublime 20 Slackistan. Figure of enfeeblement 21 Un homme qui crie/A Screaming Man. Quotidian 22 Monsters. Limit of the large form action-image 23 Brooklyn’s Finest. Limit of the small form action-image 24 Metro Manila. Limit of the action-image 25 Star Trek – First Contact. Rich dreams 26 The Machinist. Restrained dreams 27 Inception. Movement of world 28 El secreto de sus ojos/The Secret in Their Eyes. Strong destiny 29 White Material. Weak destiny 30 Triangle. Forking paths 31 Se7en. Mark 32 Doctor Who – The Day of the Doctor. Demark 33 Buried. Symbol 34 Five. Opsigns and sonsigns 35 Black Swan. Mirrors face to face 36 Self Made. Limpid and opaque 37 Synecdoche, New York. Seed and environment 38 Loong Boonmee raleuk chat/Uncle Boonmee Who Can Recall His Past Lives. Peaks of the present 39 Russkiy kovcheg/Russian Ark. Sheets of the past 40 Er shi si cheng ji/24 City. Powers of the false 41 I’m Not There. Bodies of attitude 42 Politist, adjectiv/Police, Adjective. Bodies of gest 43 Dogville. Cinema of the brain 44 Enter the Void. Lectosigns
Select Bibliography Filmography Index
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This superb new book provides the most comprehensive and user friendly introduction to Deleuze's taxonomy of cinematic images to date. Deleuze’s many and complex image categories are each unpacked, clearly, succinctly and with invigorating style, in relation to a wide range of extremely important films from around the world. Deamers’ unique approach has the unusual capacity to make you feel amazed, once again, at the genius of Deleuze, but equally, able to think about cinema with Deleuze as though having a chat with a good friend after watching a movie.'
Despite their enormous influence, Deleuze’s Cinema books remain difficult and obscure for many readers. David Deamer’s ‘Three Introductions’ to these texts—incorporating philosophical sources, semiotic typologies, and film analyses—provide comprehensive, enlightening pathways into the conceptual background and cinematic specificities of Deleuze’s film-philosophy. An impressive achievement.'
