Character Contortions. Tod Browning. The Blackbird

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Character Contortions
Tod Browning
The Blackbird

In The Black Bird it is in the course of a transformation that 'the actor' is struck by paralysis, when he was going to use his role of bishop in a criminal intent: as if the monstrous exchange suddenly froze. [Deleuze Cinema 2, 1989: 70c]

Avec « Le corbeau », c’est dans le courant d’une transformation que « l’acteur » est frappé de paralysie, quand il allait faire servir son rôle d’évêque à une intention criminelle : comme si | l’échange monstrueux se gelait tout d’un coup. [Deleuze Cinéma 2, 1985: 97-98]

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

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

Coming Out At Night. Tod Browning. Freaks

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Coming Out At Night
Tod Browning
Freaks

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Ch. 4

The Crystals of Time

Le Cristaux de temps

1a

The actual and the virtual: the smallest circuit

L'actuel et le virtuel : le plus petit circuit

The monsters in Freaks are monsters only because they have been forced to move into their explicit role, and it is through a dark vengeance that they find themselves again and regain a strange clarity which arrives in the lightning to interrupt their role. [Deleuze Cinema 2, 1989: 70bc]

Les monstres de « Freaks » ne sont des monstres que parce qu’on les a forcés à passer dans leur rôle manifeste, et c’est par une sombre vengeance qu’ils se retrouvent, regagnent une étrange clarté qui vient sous les éclairs interrompre leur rôle. [Deleuze Cinéma 2, 1985: 97d]

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

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

An Unarmed Murderer. Tod Browning. The Unknown

presentation by Corry Shores
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An Unarmed Murderer
Tod Browning
The Unknown

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Ch. 4

The Crystals of Time

Le Cristaux de temps

1a

The actual and the virtual: the smallest circuit

L'actuel et le virtuel : le plus petit circuit

A fake limbless man takes to his role and has his arms really cut off, for the love of the woman who could not bear men's hands, but tries to recover his dignity by organizing the murder of a rival who is whole (The Unknown). [Deleuze Cinema 2, 1989: 70b]

Un faux homme-tronc se donne à son rôle et se fait vraiment couper les bras, par amour de celle qui ne supportait pas la main des hommes, mais tente de se reconquérir en organisant le meurtre d’un rival intact (« L’inconnu »). [Deleuze Cinéma 2, 1985: 97c]

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.