Reels on the Road. Wim Wenders. Im Lauf der Zeit / Kings of the Road / Au fil du temps

presentation by Corry Shores

[The following is quotation. Image credits below. May I please thank the source.]

Reels on the Road

Wim Wenders

Im Lauf der Zeit

Kings of the Road

Au fil du temps

Gilles Deleuze

Cinema I

Cinéma 1

Ch 2:

Frame and Shot, Framing and Cutting

Cadre et plan, cadrage et découpage

2c:

The movement image

L'image-mouvement

What counts is that the mobile camera is like a general equivalent of all the means of locomotion that it shows or that it makes use of - aeroplane, car, boat, bicycle, foot, metro. . . . Wenders was to make this equivalence the soul of two of his films, Kings of the Road and Alice in the Cities, thus introducing into the cinema a particularly concrete reflection on the cinema. [Deleuze, Cinema 1, 1986:24a]

Ce qui compte, c'est que la caméra mobile est comme un équivalent général de tous les moyens de locomotion qu'elle montre ou dont elle se sert (avion, auto, bateau, bicyclette, marche, métro...). De cette équivalence, Wenders fera l'âme de deux de ses films, « Au fil du temps » et «Alice dans les villes », introduisant ainsi dans le cinéma une réflexion sur le cinéma particulièrement concrète. [Deleuze Cinéma 1, 1985:37c]

Deleuze, Gilles. Cinema 1: The Movement-Image.Transl. Hugh Tomlinson & Barbara Habberjam, London: Continuum, 1986

Deleuze, Gilles. Cinéma 1: L'image-mouvement. Paris: Les éditions de minuit, 1983.

Image obtained gratefully from:

http://themeasurestaken.blogspot.com/2005_08_01_archive.html

Gloving Uneasy. Elia Kazan. On the Waterfront

presentation by Corry Shores

[The following is quotation. The image credits are given below. May I please thank the source.]

Gloving Uneasy

Elia Kazan

On the Waterfront

Gilles Deleuze

Cinema 1

Cinéma 1

Ch IX.

The Action-Image: The Large Form

L'image-action : La grande forme

3c.

The impression

L'empreinte

It is nevertheless true that the emotional handling of an object, an act of emotion in relation to the object, can have more effect than a close-up in the action-image. In a situation in On the Waterfront, where the woman behaves ambivalently, and where the man feels timid and guilty, he picks up the glove that she has dropped, keeps it and plays with it, finally slipping it on to his hand. [Deleuze, Cinema 1, 1986:163c]

Reste que le maniement émotionnel d'un objet, un acte d'émotion par rapport à l'objet, peuvent avoir plus d'effet qu'un gros plan dans l'image-action. Dans une situation de « Sur les quais », où la femme a un comportement ambivalent, et où l'homme se sent timide et coupable, celui-ci ramasse le gant qu'elle a laissé tomber, le garde et en jour, y glisse enfin sa main. [Deleuze Cinéma 1, 1985:219b]

Deleuze, Gilles. Cinema 1: The Movement-Image.Transl. Hugh Tomlinson & Barbara Habberjam, London: Continuum, 1986

Deleuze, Gilles. Cinéma 1: L'image-mouvement. Paris: Les éditions de minuit, 1983.

Image from:

http://www.doctormacro1.info/Movie%20Summaries/O/On%20the%20Waterfront.htm

Taking Reality's Sides. Stanley Kubrick. The Shining

presentation by Corry Shores

[The following is quotation. Image credits below. Thank you source very much.]

Taking Reality's Sides

Stanely Kubrick

The Shining

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter VIII: Cinema, Body and Brain, Thought

Chapitre VIII: Cinéma, corps et cerveau, pensée

2b: The Cinema of the Brain and the Question of Death (Kubrick, Resnais)

2b: Le cinéma du cerveau et la question de la mort (Kubrick, Resnais)

in The Shining, how can we decide what comes from the inside and what comes from the outside, the extra-sensory perceptions or hallucinatory projections? [Deleuze Cinema 2, 1989:198d]

dans « Shining », comment décider de ce qui vient du dedans et de ci qui vient du dehors, perceptions extrasensorielles ou projections hallucinatoires ? [Deleuze Cinéma 2, 1985:268c]

Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.

Image obtained gratefully from:

http://wondersinthedark.wordpress.com/2009/10/15/4268/

Mazey Brains. Stanley Kubrick. The Shining

presentation by Corry Shores

[The following is quotation. Image credits below. Thank you source very much.]

Mazey Brains

Stanely Kubrick

The Shining

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter VIII: Cinema, Body and Brain, Thought

Chapitre VIII: Cinéma, corps et cerveau, pensée

2b: The Cinema of the Brain and the Question of Death (Kubrick, Resnais)

2b: Le cinéma du cerveau et la question de la mort (Kubrick, Resnais)

For, in Kubrick, the world itself is a brain, there is identity of brain and world, as in [...] the Overlook hotel in The Shining. [Deleuze Cinema 2, 1989:198b]

C'est que, chez Kubrick, le monde lui-même est un cerveau, il y a identité du cerveau et du monde, tels [...] l'hôtel Overlook de « Shining ». [Deleuze Cinéma 2, 1985:267d]

Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.

Image obtained gratefully from

http://rings-on-her-fingers.blogspot.com/2009/11/obligatory-spooky-post.html

River Flows Pink to Gold. Joseph Mankiewicz. Cleopatra

presentation by Corry Shores

[The following is quotation. Image credits below. Thank you source.]

River Flows Pink to Gold

Joseph Mankiewicz

Cleopatra

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter III. From Recollection to Dreams: Third Commentary on Bergson

Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)

2c: The two poles of the flashback: Carné, Mankiewicz

2c: Les deux pôles du flash-back : Carné, Mankiewicz

All the pinks intensifying to golds testify to the universal changeability of Cleopatra. [51c]

Tous les roses montant jusqu'aux ors témoignent pour l'universel ondoiement de Cléopâtre. [74a]

Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:

Image from:

http://lisawallerrogers.wordpress.com/2009/11/05/elizabeth-taylor-burton-called-her-lumpy/

Deadly Forking. Joseph Mankiewicz. Cleopatra

presentation by Corry Shores

[The following is quotation. Image credits below. Thank you source.]

Deadly Forking

Joseph Mankiewicz

Cleopatra

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter III. From Recollection to Dreams: Third Commentary on Bergson

Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)

2c: The two poles of the flashback: Carné, Mankiewicz

2c: Les deux pôles du flash-back : Carné, Mankiewicz

Finally, in Cleopatra, it is Cleopatra who has become the eternal forking woman, devious, capricious, while Mark Antony (now played by Burton) is simply a prisoner of his insane passion [....] He too will die without understanding what has actually happened, although he rediscovers Cleopatra's love in a final fork by her. [51b]

Dans « Cléopâtre », enfin, c'est Cléopâtre qui est devenue l'éternelle bifurcante, la fourchu, l'ondoyante, tandis que Mark-Antoine (maintenant joué par Burton) n'est plus que livré à son amour fou [....] Lui aussi mourra sans comprendre ce qui a pu se passer, bien qu'il retrouve l'amour de Cléopâtre dans une ultime bifurcation de celle-ci. [73d]

Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:

Image from

http://www.imdb.com/media/rm4014774272/ch0026970

courtesy of

mptvimages.com

Passioned Insanity. Joseph Mankiewicz. Cleopatra

presentation by Corry Shores

[The following is quotation. Image credits below. Thank you source very much.]

Passioned Insanity

Joseph Mankiewicz

Cleopatra

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter III. From Recollection to Dreams: Third Commentary on Bergson

Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)

2c: The two poles of the flashback: Carné, Mankiewicz

2c: Les deux pôles du flash-back : Carné, Mankiewicz

Finally, in Cleopatra, it is Cleopatra who has become the eternal forking woman, devious, capricious, while Mark Antony (now played by Burton) is simply a prisoner of his insane passion, trapped between the recollection of Caesar and the proximity of Octavian. [51b]

Dans « Cléopâtre », enfin, c'est Cléopâtre qui est devenue l'éternelle bifurcante, la fourchu, l'ondoyante, tandis que Mark-Antoine (maintenant joué par Burton) n'est plus que livré à son amour fou, coincé entre le souvenir de César et la proximité d'Octave. [73d]

[In the clip below we see Mark Antony's insane passion.]

Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris: Les éditions de minuit, 1985.

Image obtained gratefully from:

http://nighthawknews.wordpress.com/2009/04/15/great-director-81-joseph-l-mankiewicz/