Explosive Redemption. Elia Kazan. On the Waterfront

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Explosive Redemption

Elia Kazan

On the Waterfront

Gilles Deleuze

Cinema 1

Cinéma 1

Ch IX.

The Action-Image: The Large Form

L'image-action : La grande forme

3b.

Kazan and the Actor's Studio

Kazan et l'Actors Studio

On the Waterfront abundantly develops this theology: if I don't betray others, I betray myself and I betray justice. One has to go through many dirty permeating situations, and through many humiliating explosions, in order to catch a glimpse through them of the impression which cleanses us and the detonation which saves or pardons us. [Deleuze, Cinema 1, 1986:161d]

« Sur les quais » développe abondamment cette théologie : si je ne trahis pas les autres, je me trahis moi-même et je trahis la justice. Il faut passer par beaucoup de sales situations imprégnantes, et par beaucoup d'explosions honteuses, pour entrevoir à travers elles l'empreinte qui nous lave et la détonation qui nous sauve ou nous pardonne. [Deleuze Cinéma 1, 1985:216-217]

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 from:

http://www.filmreference.com/Actors-and-Actresses-Le-Ma/Malden-Karl.html

Gloving Uneasy. Elia Kazan. On the Waterfront

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[The following is quotation. The image credits are given below. May I please thank the source.]

Gloving Uneasy

Elia Kazan

On the Waterfront

Gilles Deleuze

Cinema 1

Cinéma 1

Ch IX.

The Action-Image: The Large Form

L'image-action : La grande forme

3c.

The impression

L'empreinte

It is nevertheless true that the emotional handling of an object, an act of emotion in relation to the object, can have more effect than a close-up in the action-image. In a situation in On the Waterfront, where the woman behaves ambivalently, and where the man feels timid and guilty, he picks up the glove that she has dropped, keeps it and plays with it, finally slipping it on to his hand. [Deleuze, Cinema 1, 1986:163c]

Reste que le maniement émotionnel d'un objet, un acte d'émotion par rapport à l'objet, peuvent avoir plus d'effet qu'un gros plan dans l'image-action. Dans une situation de « Sur les quais », où la femme a un comportement ambivalent, et où l'homme se sent timide et coupable, celui-ci ramasse le gant qu'elle a laissé tomber, le garde et en jour, y glisse enfin sa main. [Deleuze Cinéma 1, 1985:219b]

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 from:

http://www.doctormacro1.info/Movie%20Summaries/O/On%20the%20Waterfront.htm