Wed to the Night. Yasujirō Ozu. That Night's Wife Wife (Sono yo no tsuma その夜の妻)

presentation by Corry Shores
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Wed to the Night

Yasujirō Ozu

That Night's Wife

Sono yo no tsuma

その夜の妻

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Ch.1
Beyond the Movement Image
Au-delà de l'image-mouvement

2d

Time as unchanging form

Le temps comme forme immuable

The vase in Late Spring is interposed between the daughter's half smile and the beginning of her tears. There is becoming, change, passage. But the form of what changes does not itself change, does not pass on. This is time, time itself, 'a little time in its pure state': a direct time-image, which gives what changes the unchanging form in which the change is produced. The night that changes into day, or the reverse, recalls a still life on which light falls, either fading or getting stronger (That Night's Wife, Passing Fancy) [Deleuze Cinema 2, 1989: 16d]

Le vase de « Printemps tardif » s'intercale entre le demi-sourire de la fille et ses larmes naissantes. Il y a devenir, changement, passage. Mais la forme de ce qui change, elle, ne change pas, ne passe pas. C'est le temps, le temps en personne, « un peu de temps à l'état pur » : une image-temps directe, qui donne à ce qui change la forme immuable dans laquelle se produit le changement. La nuit qui se change en jour, ou l'inverse, renvoient à une nature morte sur laquelle la lumière tombe en faiblissant ou en croissant (« La femme d'une nuit », «Coeur capricieux »). [Deleuze Cinéma 2, 1985: 27a.b]

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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.