Gilles Deleuze: Cinema 2: The Time-Image (1985–) [FR, ES, EN, RU]

Cinema 2: The Time-Image brings to completion Gilles Deleuze’s work on the theoretical implications of the cinematographic image. In Cinema 1: The Movement-Image, Deleuze proposed a new way to understand narrative cinema, based on Henri Bergson’s notion of the movement-image and C. S. Peirce’s classification of images and signs. In Cinema 2, he explains why, since World War II, time has come to dominate film: the fragment or solitary image, in supplanting narrative cinema’s rational development of events, illustrates this new significance of time.

Deleuze ascribes this shift to the condition of postwar Europe: the situations and spaces “we no longer know how to describe”—buildings deserted but inhabited, cities undergoing demolition or reconstruction—and the new race of characters who emerged from this rubble, mutants, who “saw rather than acted.” Deleuze discusses the films of Rossellini, De Sica, Fellini, Godard, Resnais, Antonioni, Pasolini, Rohmer, Ophuls, and many others, suggesting that contemporary cinema, far from being dead, is only beginning to find new ways to capture time in the image.

Publisher Minuit, Paris, 1985
379 pages

English edition
Translated by Hugh Tomlinson and Robert Galeta
Publisher University of Minnesota Press, 1989
ISBN 0816616779, 9780816616770
364 pages

Publisher (EN)

Cinéma 2. L’Image-temps (French, 1985; added 2015-7-17)
Estudios sobre cine 2: La imagen-tiempo (Spanish, trans. Irene Agoff, 1987)
Cinema 2: The Time-Image (English, trans. Hugh Tomlinson and Robert Galeta, 1989)
Кино: Образ-движение (Russian, trans. Олег Аронсон, 2004, updated on 2013-9-26)

See also Volume 1

Gilles Deleuze: Cinema 1: The Movement-Image (1983–) [FR, ES, EN, RU]

“First published in France in 1983, this is at once a revolutionary work in philosophy and a book about cinema. For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.

Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.

Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.”

Publisher Minuit, Paris, 1983
298 pages
English edition
Translated by Hugh Tomlinson and Barbara Habberjam
Publisher University of Minnesota Press, 1986
ISBN 0816613990, 0816614008
264 pages

Wikipedia (EN)
Publisher (EN)

Cinéma 1. L’Image-Mouvement (French, 1983; added 2015-7-17)
Estudios sobre cine 1: La imagen-movimiento (Spanish, trans. Irene Agoff, 1984)
Cinema 1: The Movement-Image (English, trans. Hugh Tomlinson and Barbara Habberjam, 1986)
Кино: Образ-движение (Russian, trans. Олег Аронсон, 2004, updated on 2013-9-26)

See also Volume 2

Godard on Godard: Critical Writings by Jean-Luc Godard (1968/1986)

Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself—his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950–1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard’s career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

Unabridged republication of the edition published in New York and London in 1972, originally published in French by Editions Belfond, 1968
Translated by Tom Milne
Edited by Jean Narboni and Tom Milne
New foreword by Annette Michelson
With an introduction by Richard Roud
Published by Da Capo Press, New York, 1986
ISBN 0306802597, 9780306802591
302 pages

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