Thursday, 17 September 2009

Leaden Pause. Mann. Winchester '73

presentation by Corry Shores

[Central Entry Directory]

[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Anthony Mann, Entry Directory]
[Image credits given below]

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Leaden Pause

Gilles Deleuze

Cinema I

Cinéma 1

Chapter 4:The Perception Image: The Movement-Image and Its Three Varieties, Second Commentary on Bergson

Chapitre 4: L'image-mouvement et ses trois variétés, second commentaire de bergson

Section 3

The reverse proof: how to extinguish the three varieties

L’épreuve inverse : comment éteindre les trois variétés (« Film » de Beckett). – Comment les variétés se composent

the Western [...] is a drama of the visible and of the invisible as much as an epic of action; the hero only acts because he is the first to see, and only triumphs because he imposes on action the interval or the second’s delay which allows him to see everything (Anthony Mann’s Winchester ’73). (Deleuze, Cinema I, p.72b.)

le western […] c’est un drame du visible et de l’invisible autant qu’une épopée d’action ; le héros n’agit que parce qu’il voit le premier, et ne triomphe que parce qu’il impose à l’action l’intervalle ou la seconde de retard qui lui permet de tout voir (« Winchester 73 », d’Anthony Mann) (Deleuze, Cinéma 1, p102d)

In the clip, we see that while both are shooting, there is too much going on to take good aim. But when the hero pauses to reload, he emerges to a still scene where he can see everything and take lethal aim.

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 1

Image 2

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