Get Cinéma 2 - L'image-temps PDF

By Gilles Deleuze

ISBN-10: 2707330302

ISBN-13: 9782707330307

Remark l’image-temps surgit-elle ? Sans doute avec l. a. mutation du cinéma, après los angeles guerre, quand les occasions sensori-motrices font position à des events optiques et sonores pures (néo-réalisme). Mais l. a. mutation était préparée depuis longtemps, sous des modes très divers (Ozu, mais aussi Mankiewicz, ou même l. a. comédie musicale). L’image-temps ne supprime pas l’image-mouvement, elle renverse le rapport de subordination. Au lieu que le temps soit le nombre ou los angeles mesure du mouvement, c’est-à-dire une représentation indirecte, le mouvement n’est plus que los angeles conséquence d’une présentation directe du temps : par là même un fake mouvement, un pretend raccord. Le fake raccord est un exemple de « coupure irrationnelle ». Et, tandis que le cinéma du mouvement opère des enchaînements d’images par coupures rationnelles, le cinéma du temps procède à des réenchaînements sur coupure irrationnelle (notamment entre l’image sonore et l’image visuelle). C’est une erreur de dire que l’image cinématographique est forcément au présent. L’image-temps directe n’est pas au présent, pas plus qu’elle n’est memento. Elle rompt avec l. a. succession empirique, et avec los angeles mémoire psychologique, pour s’élever à un ordre ou à une série du temps (Welles, Resnais, Godard...). Ces signes de temps sont inséparables de signes de pensée, et de signes de parole. Mais remark l. a. pensée se présente-t-elle au cinéma, et quels sont les actes de parole spécifiquement cinématographiques ?Cet ouvrage est paru en 1985.

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As with psychological accounts, there are diverse formulations of such a view, but we will not discuss or consider such views here. For one prominent biological view of identity, see DeGrazia 2005. Again, we do not intend to discuss rival views of identity or thoroughly survey the terrain. 5 We do not intend to argue for this clam here. Parfit offers a sustained defense of it in Reasons and Persons (1987: see especially §86). IDENTITY AND AGENCY IN MULHOLLAND DRIVE 35 6 Are we avoiding the background question here of whether or not this practical self-conception is an illusion?

Need not work to clear the mysterious charge against him. Were he to carry on as usual, it seems that the verdict in his case can be indefinitely postponed. In each case, however, the freedom is illusory. s are inevitably ruined by their encounters with the veiled powers that be. Kafkaesque themes abound in most of Lynch’s work. One is the juxtaposition of the mundane and supernatural found in Lost Highway and Twin Peaks, and another is the revelation of the sinister underbelly of the apparently wholesome that is prominent in Blue Velvet.

Which aspects of my psychology – memories, dispositions, temperament – are essential to deciding my identity? 3 Radden gives an interesting account of how we individuate persons in the context of dissociative identity disorder (formerly multiple personality) (1996: see especially 41, where criteria like these are given). 4 We are, clearly, subscribing to a psychological theory of personal identity. Such views take the continuity of psychological states as being necessary for the persistence of a person as that person through time.

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