A Jury's Hanging. Lumet. Twelve Angry Men

presentation by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]

[Central Entry Directory]
[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Sydney Lumet, Entry Directory]

[The following is quotation]

A Jury's Hanging

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter 6: The Powers of the False

Chapitre 6: Les puissances du faux

2. From the point of view of narrations

(truthful and falsifying narrations)

2. Du point de vue des narrations

(narration véridique et narration falsifiante)

It is not simply a matter of pointing out the difficulty of reaching the true, taking into account the shortcomings of the investigation and of those who judge (this will again be the case in Lumet’s Twelve Angry Men). [Deleuze Cinema 2, 1989:134a]

Il ne s’agit pas simplement de marquer la difficulté d’atteindre au vrai, compte tenu des insuffisances de l’enquête et de ceux qui jugent (ce sera encore le cas de « Douze hommes en colère » de Lumet). [Deleuze Cinéma 2, 1985 :180bc]

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 1

http://twi-ny.com/twiny.02.06.08.html

Image 2

http://www.eddiesdoneks.com/dvd/reviews/article.asp/aid/7513/tcid/3

Spectacular Immobility. Hitchcock. Rear Window

presentation by Corry Shores
[Search Blog Here.]

[Central Entry Directory]
[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Alfred Hitchcock, Entry Directory]

[Image credits given below]

[The following is quotation]

Spectacular Immobility

Gilles Deleuze

Cinema I

Cinéma 1

Chapter 12. The Crisis of the Action-Image

Chapitre 12. la crise de l'image-action

1. Peirce's 'thirdness' and mental relations

1. La « tiercéité » selon Peirce, et les relations mentales.

In a still more direct way the hero of Rear Window has access to the mental image, not simply because he is a photographer, but because he is in a state of immobility: he is reduced as it were to a pure optical situation. If one of Hitchcock's innovations was to implicate the spectator in the film, did not the characters themselves have to be capable – in a more or less obvious manner – of being assimilated to spectators? [Deleuze Cinema I, 1986:209]

D'une manière plus directe encore, le héros de « Fenêtre sur cour » accède à l'image mentale, non pas simplement parce qu'il est photographe, mais parce qu'il est dans un état d'impuissance motrice : il est réduit en quelque sorte à une situation optique pure. S'il est vrai qu'une des nouveautés d'Hitchcock était d'impliquer le spectateur dans le film, ne fallait-il pas que les personnages eux-mêmes, d'une manière plus ou moins évidente, fussent assimilables à des spectateurs ? [Deleuze Cinéma 1, 1985:276]

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 obtained gratefully from:

http://movies.sky.com/review/rear-window-2

Thank you Elliott Noble

Of Mice and Lead. Hawks. Scarface

presentation by Corry Shores

[Central Entry Directory]
[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Howard Hawks, Entry Directory]

[Search Blog Here.]

[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.]

Rare Fire. Hitchcock. Rear Window

presentation by Corry Shores
[Search Blog Here.]

[Central Entry Directory]
[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Alfred Hitchcock, Entry Directory]

[Image credits given below]

Rare Fire

Gilles Deleuze

Cinema I

Cinéma 1

Chapter 2: Frame and Shot, Framing and Cutting

Chapitre 2: Cadre et plan, cadrage et découpage

Section 1

The first level: frame, set or closed system

Le premier niveau : cadre, ensemble ou système clos.

rarefied images are produced, either when the whole accent is placed on a single object (in Hitchcock, the glass of milk lit from the inside, in Suspicion; the glowing cigarette end in the black rectangle of the window in Rear Window) or when the set is emptied of certain sub-sets (Antonioni’s deserted landscapes; Ozu’s vacant interiors.) (Deleuze, Cinema I, p.13-14.)

des images raréfiées se produisent, soit lorsque tout l’accent est mis sur un seul objet (chez Hitchcock, le verre de lait éclairé de l’intérieur, dans « Soupçons », la braise de la cigarette dans le rectangle noir de la fenêtre, dans « Fenétre sur cour »), soit lorsque l’ensemble est vidé de certains sous-ensembles (les paysages désertés d’Antonioni, les intérieurs évacués d’Ozu). (Deleuze, Cinéma 1, p.23-24)

The cigarette glow is more apparent in this still image.

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://erdmenger.wordpress.com/2007/01/11/movies-every-photographer-should-see/

Thank you Till Erdmenger

Image 2

/movies.sky.com/review/rear-window-2

Thank you Elliott Noble.

Leaden Pause. Mann. Winchester '73

presentation by Corry Shores

[Central Entry Directory]
[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Anthony Mann, Entry Directory]

[Image credits given below]

[Search Blog Here.]

Leaden Pause

Gilles Deleuze

Cinema I

Cinéma 1

Chapter 4:The Perception Image: The Movement-Image and Its Three Varieties, Second Commentary on Bergson

Chapitre 4: L'image-mouvement et ses trois variétés, second commentaire de bergson

Section 3

The reverse proof: how to extinguish the three varieties

L’épreuve inverse : comment éteindre les trois variétés (« Film » de Beckett). – Comment les variétés se composent

the Western [...] is a drama of the visible and of the invisible as much as an epic of action; the hero only acts because he is the first to see, and only triumphs because he imposes on action the interval or the second’s delay which allows him to see everything (Anthony Mann’s Winchester ’73). (Deleuze, Cinema I, p.72b.)

le western […] c’est un drame du visible et de l’invisible autant qu’une épopée d’action ; le héros n’agit que parce qu’il voit le premier, et ne triomphe que parce qu’il impose à l’action l’intervalle ou la seconde de retard qui lui permet de tout voir (« Winchester 73 », d’Anthony Mann) (Deleuze, Cinéma 1, p102d)

In the clip, we see that while both are shooting, there is too much going on to take good aim. But when the hero pauses to reload, he emerges to a still scene where he can see everything and take lethal aim.

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://images.google.com/hosted/life/f?q=winchester+73&prev=/images%3Fq%3Dwinchester%2B73%26ndsp%3D20%26hl%3Den%26safe%3Doff%26sa%3DN%26start%3D60%26um%3D1&imgurl=29b80a8a573b8974

Image 2

http://upload.wikimedia.org/wikipedia/commons/3/32/Winchester73_trailer_Stewart_2.png

The Camera's Face. Bergman. Summer with Monika

presentation by Corry Shores

[Central Entry Directory]
[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Ingmar Bergman Entry Directory]

[Search Blog Here.]

The Camera's Face

Gilles Deleuze

Cinema I

Chapter 5

The Perception Image

Section 2

Griffith and Eisenstein

It is transparent, translucent or white space that has just been defined. Such a space retains the power to reflect light, but it also gains another power which is that of refracting, by diverting the rays which cross it. The face which remains in this space thus reflects a part of the light, but refracts another part of it. From being reflexive, it becomes intensive. Here there is something unique in the history of the close-up. The classical close-up ensures a partial reflection in so far as the face looks in a direction different from that of the camera, and thus forces the spectator to rebound on the surface of the screen. We are also familiar with very fine ‘camera-looks’, as in Bergman’s Summer with Monika, which establish a total reflection and give the close-up a distance which is proper to it. (Cinema 1, 97a)

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

Image from:http://www.sfgate.com/blogs/images/sfgate/mlasalle/2008/10/13/SummerWithMonika1362x500.jpg