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Cinema 2 The Time-lmage Gilles Deleuze Translated by Hugh Tomlinson rsity Libra Wi Mm IN University of Minnesota Press so| Minneapolis TA KUTUPHANE*” Copyright © 1989 The Ai ree First published as Cinéma 2, L'Image-temps Copyright © 1985 by Les Editions de Minuit, Paris. Published by the University of Minnesota Press 111] Third Avenue South, Suite 290, Minneapolis, MN 55401-2520 Printed in the United States of America on acid-free paper Fifth printing 1997 Library of Congress Number 85-28898 ISBN 0-8166-1676-0 (v. 2) ISBN 0-8166-1677-9 (pbk.; v. 2) Alll rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. The University of Minnesota is an equal-opportunity educator and employer. AY en \o95 DWMsaIS \Dsb Vez Contents Preface to the English Edition Translators’ Introduction Chapter 1 Beyond the movement-image How is neo-realism defined? — Optical and sound situations, in contrast to sensory-motor situations: Rossellini, De Sica— Opsigns and sonsigns; objectivism- subjectivism, real-imaginary — The new wave: Godard and Rivette — Tactisigns (Bresson) Ozu, the inventor of pure optical and sound images — Everyday banality — Empty spaces and still lifes— Time as unchanging form The intolerable and clairvoyance — From clichés to the image — Beyond movement: not merely opsigns and sonsigns, but chronosigns, lectosigns, noosigns — The example of Antonioni Chapter 2 Recapitulation of images and ne signs Cinema, semiology and language — Objects and images Pure semiotics: Peirce and the system of images and signs — The movement-image, signaletic material and non-linguistic features of expression (the internal monologue). The time-image and its subordination to the movement-image ~ Montage as indirect representation | of time — Aberrations of movement — The freeing of de the time-image: its direct presentation. The relative difference between the classical and the modern. Chapter 3 From recollection to dreams: 1 third commentary on Bergson The two forms of recognition according to Bergson — The circuits of the optical and sound image — ecpes of he o I BOGAZici UNiversitesi Sy KUTUPHANESi xi xv 13 18 25 30 34 44

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