At the Public Bath. Howard Hawks. El Dorado

presentation by Corry Shores

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[The following is quotation]

At the Public Bath

Howard Hawks

El Dorado

Gilles Deleuze

Cinema 1

Cinéma 1

Ch X. The Action-Image: The Small Form

Ch X. L'image-action : La petite forme

2a

The Western in Hawks: functionalism

Le western chez Hawks : le fonctionalisme

Everyone enters and passes through the room where the sheriff is having a bath, as though it were a public place (El Dorado). [Deleuze, Cinema 1, 1986:170bc]

Tout le monde entre et passe dans la pièce où le shérif prend un bain, comme sur une place publique (« El Dorado »). [Deleuze Cinéma 1, 1985:228]

[Clip should play, even though the screen is blank until the button is pressed.]

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.

Of Mice and Lead. Hawks. Scarface

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[The following is quotation]

Of Mice and Lead

Gilles Deleuze


Cinema I

Cinéma 1


Chapter 9. The Action Image: The Large Form

Chapitre 9. L’image-action : la grande forme


1. From situation to action: ‘secondness’

1. De la situation à l’action : la « secondéité »

the modes of behavior, however studied they are, are not true habits, true responses to situations, but conceal a fault or cracks which cause them to disintegrate. This is the story of Hawks’ Scarface, where all the hero’s cracks, all the little faults which made him take it too hard, converge in the appalling crisis to which he succumbs on the death of his sister. [Deleuze Cinema I 1986:149]


les comportements, si expérimentés soient-ils, ne sont pas de vrais habitus, de vraies réponses à des situations, mais recèlent une faille ou des fêlures qui les désintègrent. C’est l’histoire de « Scarface » de Hawks, où toutes les fêlures du héros, toutes les petites failles par lesquelles il en faisait trop, so réunissent dans une crise abjecte qui l’emporte avec la mort de sa sœur. [Deleuze Cinéma 1, 1985 :201]

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

http://www.afilmcanon.com/journal/2007/10/20/hawks-scarface-the-shame-of-a-nation-1932.html

Thank you Billy Stevenson

Image 2

http://www.ew.com/ew/gallery/0,,20289423,00.html

Thank you Ken Tucker.

[Note: the second image was incorrectly attributed before 01-Nov-2009. My apologies.]

For Whom the Bell Shoots, Hawks, El Dorado, Empty Church Function

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For Whom the Bell Shoots

Gilles Deleuze

Cinema I

Chapter 10:

The Action-Image

The Small Form

Section 2a:

The Western in Hawks: functionalism

featuring

Howard Hawks

El Dorado

First of all, the locations lose the organic life which encompassed them, traversed them and situated them in a set: the purely functional prison in Rio Bravo does not even need to show us its prisoner; the church in El Dorado no longer bears witness to anything but an abandoned function; the town of Rio Lobo is reduced to 'a diagram, now only showing functions, a bloodless town condemned by the weight of a past'. (169d, emphasis mine)

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

Image from: http://thisdistractedglobe.com/wp-content/uploads/2006/09/El%20Dorado4.jpghttp://thisdistractedglobe.com/wp-content/uploads/2006/09/El%20Dorado4.jpg