Youthful Dreams. Vincent Minnelli. Gigi

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[The following is quotation. My own notes are bracketed in red.]

Youthful Dreams
Vincent Minnelli
Gigi

Gilles Deleuze

Cinema I
Cinéma I

Ch.7
The Affection-image: Qualities, Powers, Any-space-whatevers
L'image-affection : qualités, puissances, espaces quelconques

3d
Colour and Absorption(Minnelli)
La couleur et absorption (Minnelli)

[...] from the beginning of a total cinema of colour, Minnelli had made absorption the properly cinematographic power of this new dimension of the image. This is the source of the role of the dream in his work: the dream is only the absorbent form of colour. His work in musical comedy, but also in all other genres, follows the obsessive theme of characters literally absorbed by their own dream, and above all by the dream of others and the past of others (Yoldanda and the Thief, The Pirate, Gigi, Melinda [sic: English title, On a Clear Day You Can See Forever]) by the dream of power of an Other (Les Ensorcelés [sic: English title: The Bad and the Beautiful]). [Deleuze Cinema 1, 1986: 122a.b]

[…] dés le début d’un cinéma total de la couleur, Minnelli avait fait de l’absorption la puissance proprement cinématographique de cette nouvelle dimension de l’image. D’où chez lui le rôle du rêve : le rêve n’est que la forme absorbante de la couleur. Son œuvre, de comédie musicale mais aussi de tout autre genre, allait poursuivre le thème lancinant de personnages littéralement absorbés par leur propre rêve, et surtout par le rêve d’autrui et le passé d’autrui («Yolanda », « Le pirate », « Gigi », « Melinda »), par le rêve de puissance d’un Autre (« Les ensorcelés »). [Deleuze Cinéma 1, 1985: 167b]

[Gaston is a wealthy and socially prominent bachelor. He has had a friendship with Gigi while she was a child, and now that she has grown, he has fallen in love with her. Gigi's grandmother and great-aunt 'dream' of Gigi marrying into Gaston's fortune and fame. In these clips we see Gaston partly inclined toward Gigi, and guided a little bit into the marriage, as a result of him being absorbed by the dreams of Gigi's caretakers.]

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.

Color Lust. Vincent Minnelli. Lust for Life

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Color Lust
Vincent Minnelli
Lust for Life

Gilles Deleuze

Cinema I
Cinéma I

Ch.7
The Affection-image: Qualities, Powers, Any-space-whatevers
L'image-affection : qualités, puissances, espaces quelconques

3d
Colour and Absorption (Minnelli)
La couleur et absorption (Minnelli)

It is appropriate that Minnelli should have tackled a subject which is ideal for expressing this adventure without return: the hesitation, the fear and the respect with which Van Gogh approaches colour, his discovery and the splendour of his creation, and his own absorption in which he creates, the absorption of his being and of his reason in yellow (Lust for Life) CI, [Deleuze Cinema 1, 1986: 122a.c]

Il est juste que Minnelli se soit confronté au sujet capable d’exprimer le mieux cette aventure sans retour : l’hésitation, la crainte et le respect avec lesquels Van Gogh s’approche de la couleur, sa découverte et la splendeur de sa création, et sa propre absorption dans ce qu’il crée, l’absorption de son être et de sa raison dans le jaune (« La vie passionnée de Van Gogh ») [Deleuze Cinéma 1, 1985: 167d]

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.

Escalate Your Dreams. Vincent Minnilli. The Clock

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Escalate Your Dreams
Vincent Minnelli
The Clock



Gilles Deleuze

Cinema 2: The Time Image
Cinéma 2: L'image-temps

Chapter III. From Recollection to Dreams: Third Commentary on Bergson
Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)

3e
From Donen and Minnelli to Jerry Lewis
3g
De Donen et Minnelli à Jerry Lewis

It is an escalator as movement of world which, in The Clock, breaks the heel on the girl's shoe and carries her away into the waking dream of the soldier on leave. [Deleuze Cinema 2, 1989: 61ab]

C’est un escalator comme mouvement de monde qui, dans « L’horloge », casse le talon de chaussure de la jeune fille et l’emporte dans le rêve éveillé du soldat permissionnaire. [Deleuze Cinéma 2, 1985: 86bc]

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.

Dreams of Nitroglycerin. Vincente Minnelli. The Bandwagon

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Dreams of Nitroglycerin

Vincente Minnelli

The Bandwagon

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter III. From Recollection to Dreams: Third Commentary on Bergson

Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)

3c: The Implied Dream': movements of world

3c: Le « rêve impliqué » : les mouvements de monde

If musical comedy gives us in an explicit way so many scenes which work like dreams or pseudo-dreams with metamorphoses (Singing in the Rain, Band Wagon, and especially Minnelli’s An American in Paris), it is because it is entirely a gigantic dream, but an implied dream, which in turn implies the passage of a presumed reality in the dream. [Deleuze Cinema 2, 1989:59bc]

Si la comédie musicale nous présente explicitement tant de scènes fonctionnant comme des rêves ou de pseudo-rêves à métamorphoses (« Chantons sous la pluie », «Bandwagon », et surtout « Un Américain à Paris » de Minnelli), c’est parce qu’elle est tout entière un gigantesque rêve, mais un rêve impliqué, et qui implique lui-même le passage d’une réalité supposée au rêve. [Deleuze Cinéma 2, 1985:84a]

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.

Image obtained gratefully from:

http://theprecis.com/blog/?p=113

Dance Walk. Vincente Minnelli. The Bandwagon

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Dance Walk

Vincente Minnelli

The Bandwagon

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter III. From Recollection to Dreams: Third Commentary on Bergson

Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)

3c: The Implied Dream': movements of world

3c: Le « rêve impliqué » : les mouvements de monde

But what counts is the way in which the dancer's individual genius, his subjectivity, moves from a personal motivity to a supra-personal element, to a movement of world that the dance will out-line. This is the moment of truth where the dancer is still going, but already a sleepwalker, who will be taken over by the movement which seems to summon him: this can be seen with Fred Astaire in the walk which imperceptibly becomes dance (Minnelli's Band Wagon) [Deleuze Cinema 2, 1989:58d]

Mais, ce qui compte, c'est la manière dont le génie individuel du danseur, la subjectivité, passe d'une motricité personnelle à un élément supra-personnel, à un mouvement de monde qui la danse va tracer. C'est le moment de vérité où le danseur marche encore, mais déjà somnambule qui va être possédé par le mouvement qui semble l'appeler : on le trouve chez Fred Astaire dans la promenade qui devient danse insensiblement (« The Bandwagon » de Minnelli) [Deleuze Cinéma 2, 1985:83b]

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.

Image obtained gratefully from:

http://www.pophistorydig.com/?tag=cyd-charisse-and-“singin’-in-the-rain”

Dance of Dreams. Vincente Minnelli. American in Paris

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[The following is quotation. Image credits below. May I sincerely thank the artist for his wonderful painting.]

Dance of Dreams

Vincente Minnelli

American in Paris

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter III. From Recollection to Dreams: Third Commentary on Bergson

Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)

3c: The Implied Dream': movements of world

3c: Le « rêve impliqué » : les mouvements de monde

If musical comedy gives us in an explicit way so many scenes which work like dreams or pseudo-dreams with metamorphoses (Singing in the Rain, Band Wagon, and especially Minnelli’s An American in Paris), it is because it is entirely a gigantic dream, but an implied dream, which in turn implies the passage of a presumed reality in the dream. [Deleuze Cinema 2, 1989:59bc]

Si la comédie musicale nous présente explicitement tant de scènes fonctionnant comme des rêves ou de pseudo-rêves à métamorphoses (« Chantons sous la pluie », « Bandwagon », et surtout « Un Américain à Paris » de Minnelli), c’est parce qu’elle est tout entière un gigantesque rêve, mais un rêve impliqué, et qui implique lui-même le passage d’une réalité supposée au rêve. [Deleuze Cinéma 2, 1985:84a]

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.

The image is a painting by an artist named Dave. His main site is here. And his blog is here. The image is from:

http://davelandart.blogspot.com/2009/02/american-in-paris.html