Gettin' Down to Zero. Jerry Lewis. The Patsy

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Gettin' Down to Zero

Jerry Lewis

The Patsy

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)

3g: Lewis and Tati

3g: Lewis et Tati

And even the way he walks seems like so many misperformed dance steps, an extended and recommenced 'degree zero', with every possible variation, until the perfect dance is born (The Patsy) [Deleuze Cinema 2, 1989: 62d]

Et même sa démarche semble autant de ratés de danse, un « degré zéro » prolongé et renouvelé, varié de toutes les manières possibles, jusqu'à ce que naisse la danse parfaite ( « The Patsy ») [Deleuze Cinéma 2, 1985: 88b]

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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.

Implicated Persons. Jerry Lewis. Three On a Couch

presentation by Corry Shores

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Implicated Persons

Jerry Lewis

Three On a Couch

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)

3g: Lewis and Tati

3g: Lewis et Tati

the 'proliferations' by which the burlesque character makes others swarm together (the six uncles in Family Jewels), or implicates others who are absorbed (the three in Three on a Couch); the cases of 'spontaneous generation' of faces, bodies, or crowds; the 'agglutinations' of characters who meet, joint together and separate (The Big Mouth). [Deleuze Cinema 2, 1989: 63d]

les « proliférations » par lesquelles le personnage burlesque en essaime d'autres (les six oncles de « Family Jewels »), ou en implique d'autres qui se résorbent (les trois de « Three on a Couch »); les « générations spontanées » de visages, de corps ou de foules; les « agglutinations » de personnages qui se rencontrent, se soudent et se séparent (« The big mouth ») [DeleuzeCinéma 2, 1985: 89-90]

[Videos will play, even though they show no image until then]

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 Character of Glue. Jerry Lewis. The Big Mouth

presentation by Corry Shores

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The Character of Glue

Jerry Lewis

The Big Mouth

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)

3g: Lewis and Tati

3g: Lewis et Tati

the 'proliferations' by which the burlesque character makes others swarm together (the six uncles in Family Jewels), or implicates others who are absorbed (the three in Three on a Couch); the cases of 'spontaneous generation' of faces, bodies, or crowds; the 'agglutinations' of characters who meet, joint together and separate (The Big Mouth). [Deleuze Cinema 2, 1989: 63d]

les « proliférations » par lesquelles le personnage burlesque en essaime d'autres (les six oncles de « Family Jewels »), ou en implique d'autres qui se résorbent (les trois de « Three on a Couch »); les « générations spontanées » de visages, de corps ou de foules; les « agglutinations » de personnages qui se rencontrent, se soudent et se séparent (« The big mouth »)[DeleuzeCinéma 2, 1985: 89-90]

[Video will play, even though it shows no image until then]

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.

Swarming Jerry. Jerry Lewis. Family Jewels

presentation by Corry Shores

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Swarming Jerry

Jerry Lewis

Family Jewels

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)

3g: Lewis and Tati

3g: Lewis et Tati

the 'proliferations' by which the burlesque character makes others swarm together (the six uncles in Family Jewels), or implicates others who are absorbed (the three in Three on a Couch); the cases of 'spontaneous generation' of faces, bodies, or crowds; the 'agglutinations' of characters who meet, joint together and separate (The Big Mouth). [Deleuze Cinema 2, 1989: 63d]

les « proliférations » par lesquelles le personnage burlesque en essaime d'autres (les six oncles de « Family Jewels »), ou en implique d'autres qui se résorbent (les trois de « Three on a Couch »); les « générations spontanées » de visages, de corps ou de foules; les « agglutinations » de personnages qui se rencontrent, se soudent et se séparent (« The big mouth ») [Deleuze Cinéma 2, 1985: 89-90]

[Video will play, even though it shows no image until then]

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.

Electrical Ravage. Jerry Lewis. It's Only Money

presentation by Corry Shores

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Electrical Ravage

Jerry Lewis

It's Only Money

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)

3g: Lewis and Tati

3g: Lewis et Tati

It is no longer the machine that goes wrong and goes mad, like the feeding-machine in Modern Times, it is the cold rationality of the autonomous technical object which reacts on the situation and ravages the set: not just the electronic house and the lawn-mowers in It's Only Money, but the caddies who destroy the self-service (The Disorderly Orderly) and the Hoover that devours everything in the shop, goods, clothes, customers and wallpaper (Who's Minding the Store). [Deleuze Cinema 2, 1989: 63b]

Ce n'est plus la machine qui se dérègle et devient folle, comme la machine à nourrir des «Temps modernes », c'est la froide rationalité de l'objet technique autonome qui réagit sur la situation et ravage le décor : non seulement la maison électronique et les tondeuses à gazon dans « It's only money », mais les caddies qui détruisent le libre-service ( « The disorderly orderly ») et l'aspirateur qui dévore tout dans le magasin, marchandises, vêtements, clients, revêtement mural ( « Who's minding the store »). [Deleuze Cinéma 2, 1985: 89a.b]

[Videos will play, even though they show no image until then]

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.