Guide to Reading Deleuze’s Cinema II: The Time-Image, Part I: Towards a Direct Imaging of Time to Crystal-Images

Networkologies

An early crystal-image in Welles’ ‘Lady from Shanghai’

[Here’s a continuation of my series on reading Deleuze’s Cinema I & II . . . ]

If the greatest impediment to understanding Deleuze’s concepts in The Movement-Image is confusion over what he means by the word image, then a similar roadblock occurs in The Time-Image in relation to his use of the word time. Understand what he means by the word image, and Cinema I is a massively easier read; understand what he means by the word time, and the same thing happens for Cinema II.

Bergson’s Critique of Clock-Time

Deleuze’s conception of time in Cinema II is taken almost directly from Bergson, and with Bergson, it’s easiest to start out by describing precisely what time does not mean for both of them. Bergson’s philosophy finds its genesis in the critique of clock time, and in favor of…

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