The Movement-Image: Bergsonian Lessons on Cinema: Lecture 8, 26 January 1982

Listed in Datasets publication by group The Deleuze Seminars

By Gilles Deleuze

Lecture given by French philosopher Gilles Deleuze at the University of Paris 8, 26 January 1982. This is lecture 8 of a 21-lecture seminar Deleuze taught between November 1981 and June 1982.

Version 1.0 - published on 29 Nov 2017 doi:10.4231/R7K072F7 - cite this Archived on 30 Dec 2017

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Description

The Deleuze Seminars is a collection of audio recordings, transcriptions, and English translations of, and supplemental materials from, the lectures French philosopher Gilles Deleuze gave during his career at the University of Paris 8.

“The Movement-Image: Bergsonian Lessons on Cinema” was a 21-lecture seminar given from November 1981 to June 1982. This seminar marks the first of four consecutive seminars in which Deleuze presents his theory of film. Here, in large part through the philosophy of Henri Bergson, Deleuze rethinks film as a movement-image, as opposed to a succession of still frames or photographic images. Throughout the course he references a wide variety of filmmakers, critics, and philosophers. As a precursor to the publication of Deleuze’s first of two volumes on cinema, Cinema 1: The Movement-Image (Cinéma 1. L'Image-Mouvement, 1983), this seminar is a valuable resource to researchers interested in Deleuze’s film theory, as well as his larger philosophical oeuvre.

In the 26 January 1982 lecture, topics of discussion include: the perception-image; Annette Michelson; structural cinema; Landow's Bardo Follies; the video-image; the photogram-interval couple as a genetic element of the movement-image, hence another (non-human) perception; experimental cinema; the Italian film director and writer Michelangelo Antonioni; nine remarks on the perception-image; the affection-image; the American director David Wark (D.W.) Griffith; Eisenstein; the face and the close-up; Bergson's thesis that affection is "a motor tendency on a sensitive nerve"; the face and intensive series; and Descartes’ treatise Passions of the Soul.

This dataset includes: two mp3 recordings of the lecture (total time, 2:05:35), an aggregate version of the audio recordings into a single mp3, and the complete French transcription of the recorded lecture in both pdf (24 pp) and plain text.

Note: a) The first (approx.) 6:40 of the part 2 audio file repeats the end of part 1, less the last (approx.) 10 seconds. The part 2 audio file was kept intact as it is of a higher quality. The duplicate audio reflects the French transcription from “Eh bien maintenant et la prochaine fois…” (p. 13) to the end of section 1. The duplicate audio has been removed from the aggregate audio file. b) The aggregate audio file has been downsampled.

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Les Séminaires de Deleuze sont une collection d'enregistrements audio, de transcriptions et de traductions en anglais et de documents complémentaires des conférences que le philosophe français Gilles Deleuze a donné lors de sa carrière à l'Université de Paris 8.

«L’image-mouvement, Leҫons bergsoniennes sur le cinéma» était un séminaire de 21 conférences donné de novembre 1981 à juin 1982. Ce séminaire marque le premier de quatre séminaires consécutifs dans lesquels Deleuze présente sa théorie du film. Ici, en grande partie grâce à la philosophie d'Henri Bergson, Deleuze repense le film comme un image-mouvement, par opposition à une succession d'images fixes ou d'images photographiques. Tout au long du cours, il fait référence à une grande variété des cinéastes, des critiques et des philosophes. En tant que précurseur de la publication des premiers volumes de Deleuze sur le cinéma, Cinéma 1. L'Image-Mouvement (1983), ce séminaire est une ressource précieuse pour les chercheurs intéressés par la théorie du film de Deleuze, ainsi que sa plus grande œuvre philosophique.

Dans la conférence du 26 janvier 1982, les sujets de discussion comprennent: l'image-perception; Annette Michelson; le cinéma structurel; Bardo Follies de Landow; l'image-vidéo; le couple photogramme-intervalle comme élément génétique de l'image-mouvement, d'où une autre perception (non-humaine); le cinéma expérimental; le réalisateur et écrivain italien Michelangelo Antonioni; neuf remarques sur l'image-perception; l'image-affection; le réalisateur américain David Wark (D.W.) Griffith; Eisenstein; le visage et le gros plan; le thèse de Bergson de l’affection est «une tendance motrice sur un nerf sensible»; le visage et les séries intensives; et Les Passions de l'âme (aussi appelé Traité des passions de l'âme) de Descartes.

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Notes

This research has been generously supported through a grant from the College of Liberal Arts, Purdue University.

The description of this dataset is based on the meticulous work of Frédéric Astier, whose Les cours enregistrés de Gilles Deleuze, 1979-1987 has catalogued Deleuze’s seminars for those years.

Special thanks to the family of Gilles Deleuze and the University of Paris 8 for permission to reproduce the material published here.

The Deleuze Seminars

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