Yesterday, we held a new seminary where we had the chance to read the first book by Deleuze about images. Here you can read a brief summary about our meeting:
Bergson thesis:
The film really does not represent the movement. It would not exactly reflect or capture the real movement, but creates the movement-image. It is a way of reinventing the movement itself (Chinese pictures are first but they are different).
(P. 90) ancient philosophy: the film exists only when it is equidistant from images (any kind of images). The modern cinema invented the frame: always the same images, one after another, without priority, preference or distinction between them.
The moment is a motionless cutting movement.
The movement is a mobile cutting of length.
At the duration there is a whole, and the duration is also a transformation. The movement, which we usually consider translation, is transforming everything, affects everything, and it has nothing to do with the space (the tiger when it moves and eats zebra, then there es one zebra less, and this changes the whole result of the forest).
What is a picture-motion?
Bergson called images to what in philosophy is called phenomenon: the image is what appears, is the phenomenon, the idea.
The subject wants to know the noumenon that can never be known. The phenomenon is the encounter between the subject and the noumenon. The film brings a new conception of the image: the picture-motion.
The motion-picture is the main brick with which it is mounted or built the rest, is the atom. These bricks are expanding, in constantly movement, making a gap. Each frame, each image, has movement, and this establishes relationships with previous and the later frames and frames. That is the essence and the novelty of cinema: we hold the movement in a image.
There are three levels of analysis or elements:
-Framing: Framing is to build an artificially closed system, a system of things artificially closed.
-Plane: The plane is made determining the relative movement between the objects that have been determined by the frame. The plane is inseparable from the movement of the camera, and then what we have is a permanent sequence of shots.
-Assembly: The assembly is the way in which the relative movement is composed (a plane), and gives meaning to everything else.
There are types of motion-picture, and besides, this is different from the memory-image:
-Perception-image: is the image that reaches the indeterminacy center (IC).
-Affection-image: it is what is installed in the indeterminacy center.
-Action-image: it is what comes out of the indeterminacy center.
The indeterminacy center (in principle) is the brain, this introduces a mismatch between an action and a reaction. If we had no brain, everything would be directly action-reaction-action-reaction, constantly.
The image is displayed. What appears is the phenomenon. What appears is moving.
The brain is an interval, makes a change. The image, when it abuts on an IC becomes a affection-image, and it subtracts something (perception-image - something). In the sense that I can perceive something, I can catch something, I stick with it, the arrest occurs, (the theft of something). If that something would not been subtracted, all will pierce me without leaving a trace in me. And it not only passes by me but it affects me and also produces feelings in me (affect me).
The same imbalance is what generates the affection, then this is what makes possible the action-image.
Perception-image:
Faciality, pure condition. We must eliminate communication, the exacerbated expression of emotion. (Whether or not a face, a close up of a watch is also faciality).
Affection-image:
The image-affection is the foreground image, the face. The face is the foreground. The foreground does not have to be a face. The affection causes only within the whole, but in isolation, in the foreground isolated (in a frame for example), it does not cause affection.
Affection is a common potential to two opposites (the scary-the grounding) or a common quality (the vampire and his victim)
Action-image:
What comes out is different. The curve is the angle that allows us to what comes out would different. What comes out has a difference with what came in (diffraction of light, the angle at which the light enters the water, it makes what comes out (the rainbow) is different from what came in (the white light of al lightning). This concept is similar to the "clinamen" concept by Michel Serres.
Almost all the current cinema is action-image.
The movement-image reaches a limit where it overflows into something new: the optical-noise image (together with music): suddenly, there are two planes, image and another plane that is the sound, and this throws the image to another dimension. The movement-image is the motion, and time is the image-volume. Both are consubstantial, and it occurs when we reach the pure affection.
There are other kind of images:
-Time-images.
-Memory-images.
-Remembrance-images.
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