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Run Out and Touch Someone
Buster Keaton
The Cameraman
Buster Keaton
The Cameraman
Gilles Deleuze
Cinema 1
Cinéma 1
Ch X. The Action-Image: The Small Form
Ch X. L'image-action : La petite forme
3c.
The Paradox of Keaton the Minoring and Recurrent Functions of the Great Machines
Le paradoxe de Keaton : la fonction minorante et récurrente des grandes machines
The fastest such trajectory is achieved in The Cameraman, where the girl telephones the hero, who rushes into New York and is already at her place when she puts the receiver down. [Deleuze, Cinema 1, 1986: 179b]
Le plus grande vitesse de trajectoire est obtenue dans « Le caméraman », où la jeune fille téléphone au héros, qui se lance dans New-York, et se trouve déjà chez elle au moment où elle raccroche. [Deleuze Cinéma 1, 1985: 239bc]
Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: The Athlone Press, 1989.
Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.
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