movement-image
  ---- by Tom Conley
  The movement-image is the title of the first panel of a historical diptych, Cinema 1 and Cinema 2, that classifies modes of perception and production of film from its beginnings in 1895 up to 1985. In this work and its complement, The Time Image, Deleuze uses cinema to show how philosophy is not constrained to a canon or an academic world but to life at large. Cinema is a surface on which viewers reflect their thinking, and in itself it is a medium or a machine that thinks with autonomy with respect to its viewers and creators. The movement-image defines and describes the quality of cinematic images that prevail in the medium over its first fifty years. From 1895 to 1945 cinema became the seventh art by embodying images not in movement but as movement. Motion was at that time the essence of cinema. By way of Henri Bergson Deleuze shows that cinema does not furnish the spectator with 'an image to which it adds movement', but rather, 'it immediately gives us a movement-image' (D 1986: 2). A cut between two shots is part of the image, and thus a temporal gap that allows the eye to perceive an effect of movement. The latter is gained by a succession not of static photographic poses but of 'instants of any kind whatsoever' (D 1986: 7-8), that is, of instants equidistant from one another. The event of the moving image thus owes to a 'distribution of the points of a space or of the moments of an event,' a moment seen as a 'translation in space' (D 1986: 7-8). The two components of the movement-image are found in what happens between parts or objects, and in what expresses the duration of a whole or a sum, that which might be indeed the world in the field of the image.
  The cinema most characteristic of the movement-image is based on action and its intervals. It is seen in the comedies of Charlie Chaplin and Buster Keaton, to be sure, but also in the molecular agitation of wind, dust or smoke in the films of Louis Lumière.Movement-images tend to attach to the sensori-motor reflexes of the viewer who is drawn to them. The movement-image is made of moments in a given whole, such as a single shot or a plan-séquence, and it can be felt in the panoramic or tracking shots that confer motion upon the field of the image.
  At a crucial point in his treatment Deleuze delineates and redefines three kinds of movement-images that renew and energise the traditional lexicon of cinema. The 'action-image', generally a medium shot or a plan américain, organises and distributes movement in space and time. Characterised by a hold-up or a heist, it abounds in film noir. The 'perception-image', often a long shot and a long take, conveys a 'drama of the visible and invisible' within the staging of action. The spectator perceives the origins and limits of visibility in images that are common to the classical western. The 'affection-image' is best seen in close-ups in which faces tend to occupy the greater area of the screen. Each of these types of movement-image constitutes 'a point of view on the Whole of the film, a way of grasping this whole, which becomes affective in the close-up, active in the medium shot, and perceptive in the long shot' (D 1986: 70). Other types of images that he takes up - the memory-image, the mental-image, the relation-image - derive from these three principal categories.
  The movement-image reaches the end of its tenure at the time of World War II, concludes Deleuze, for five reasons. It no longer refers to a totalising or synthetic situation, but a dispersive one. Characters begin to multiply and become interchangeable. It loses its definition as either action, affection or perception when it cannot be affiliated with a genre. An art of wandering - the camera seems to move on its own - replaces the storyline, and plots become saturated with clichés. Finally, narratives are driven by a need to denounce conspiracy. Reality itself becomes 'lacunary and dispersive'. At this point, generally at the end of World War II, the time-image begins to mark cinema. Yet, as in most of Deleuze's dyads, the one term is always a function of the other that is tied to it. Movement-images tend to be the substance of narrative cinema while time-images are especially evident in experimental film. A study of genres and styles could be based on the relation of movement and time and the types of images that define their traits and qualities.
  Connectives
   § cinema
   § faciality
   § time-image

The Deleuze dictionary. . 2010.

Look at other dictionaries:

  • movement-image —    by Tom Conley   The movement image is the title of the first panel of a historical diptych, Cinema 1 and Cinema 2, that classifies modes of perception and production of film from its beginnings in 1895 up to 1985. In this work and its… …   The Deleuze dictionary

  • Cinema 1: The Movement Image —   …   Wikipedia

  • Image-stabilized binoculars — are binoculars that have a mechanism for decreasing the apparent motion of the view due to binocular movement.Image stabilized binoculars are designed to minimize image shaking in hand held binoculars. Higher power binoculars bring the image… …   Wikipedia

  • Image stabilization — (IS) is a family of techniques used to reduce blurring associated with the motion of a camera during exposure. Specifically, it compensates for pan and tilt (angular movement, equivalent to yaw and pitch) of a camera or other imaging device. It… …   Wikipedia

  • Movement for Changes — Pokret za promjene Покрет за промјене Leader Nebojša Medojević Founded 2002 …   Wikipedia

  • Image stitching — or photo stitching is the process of combining multiple photographic images with overlapping fields of view to produce a segmented panorama or high resolution image. Commonly performed through the use of computer software, most approaches to… …   Wikipedia

  • Image Metrics — is a 3D facial animation company headquartered in Manchester, with offices in Santa Monica. Image Metrics specializes in creating facial animation for films, video games and television using a Markerless motion capture computer animation… …   Wikipedia

  • Image-guided radiation therapy — (IGRT) is the process of frequent two and three dimensional imaging, during a course of radiation treatment, used to direct radiation therapy utilizing the imaging coordinates of the actual radiation treatment plan. The patient is localized in… …   Wikipedia

  • Image and Reality of the Israel–Palestine Conflict — Image and Reality of the Israel Palestine Conflict is a controversial book by Norman G. Finkelstein. It is a study of the Israeli Palestinian conflict by the author of The Holocaust Industry . Finkelstein examines and scrutinizes popular… …   Wikipedia

  • Image Bukhan — (Nepal Bhasa:ईमेज बुखँ) is the first news program in Nepal Bhasa. This program is broadcasted two times every day.EtymologyThe word Image Bukhan comes from two words Image and Bukhan. Image is the name of the television station and Bukhan means… …   Wikipedia

Share the article and excerpts

Direct link
Do a right-click on the link above
and select “Copy Link”