法文转录稿

French Transcript

After reviewing the four characteristics of the reversal of the relations of movement and time developed in the previous session, Deleuze hypothesizes that through these anomalies of movement, a direct time-image might emerge and offers examples of anomalies of movement (cf. Epstein, Dreyer, Italian Neo-Realism, French New Wave). Deleuze reflects on “two manners of being powerless” that emerged following World War II — one in classical cinema, the other transforming into a cinema of “clairvoyance,” with new facet of “seeing” (cf. Antonioni, Fellini and Visconti). Then, after shifting briefly to the initiation of pure optical-sound situations, suggesting that an entire pedagogy of the image emerges, Deleuze again shifts toward a direct time-image with the four phases of burlesque in cinema, on one hand, Jerry Lewis and Jacques Tati, and on the other, musical comedy. Through Bergson, Deleuze proposes a system of circuits (physical and mental, real and imaginary) through which the crystalline description emerges as well as the falsifying crystalline narration (e.g., Godard, Antonioni and Ozu). Suggesting the possibility of developing “a new pedagogy of the image”, Deleuze seeks an alternate means to analyze the image, differently from how the movement-image was analyzed, through the image's conditions and through an entirely new relation with thought. Ozu serves to examine the direct time-image, contrasted with Antonioni and an article by Paul Schrader. Finding in Ozu two types of ordinary (the banal, the visionary), Deleuze links him to the development of still life in Cézanne, notably that what Cézanne achieved with apples, Ozu achieved with the vase, i.e., a “bit of time in pure state”, the unchangeable form of what changes, the pure optical sound situation, the direct time-image.

小津安二郎

Yasujiro Ozu

And the last time, we had at least made a little progress with regard to the situation before the mutation in the domain of cinema; and then we had begun to define the mutation itself: how did it break out, what was it prepared by? By all sorts of things, but how did it break out after the war? Obviously, the causes are multiple for it being after the war. So taking this up again this week, I feel once again the need to summarize – for my part I see, in order to define what went before the mutation, I see five traits, no four, four traits. I ask you to keep them in mind because really, we are going to proceed by saying for each trait, here, this is what happens [in cinema], and then in philosophy one finds … you'll see. All that involves a system of equivalence, with all the dangers that entails, which is to say, above all, it's all up to you: it's necessary not to mix things up, but try to remain sensitive to how something happens there – and then happens elsewhere, at another moment, under another form. The disaster would be if we say to ourselves, well, Kant and [Yasujiro] Ozu, it's all the same thing! I take this risk; it is a risk, we risk it. But if one concludes that from it, or if there is space to conclude that, it's catastrophic; we've botched it.

吉尔·德勒兹

Gilles Deleuze

Yasujiro Ozu

论电影、真理与时间：伪造者，1983-1984

Sur Cinéma, vérité et temps : le faussaire, 1983-1984

On Cinema, Truth and Time: the Falsifier, 1983-1984

第九讲，1984年1月24日（第53课）

9ème séance, 24 janvier 1984 (cours 53)

[编者按：为使本转录稿便于配合加拉尔第出版社（Gallimard）所出《吉尔·德勒兹：电影》（2006）有声唱片阅读，我们在下方标出六张唱片各章的编号（此处自第二段起为第五张唱片，并附每首曲目的时长）；同时，在文档注释中标注唱片制作时转录稿可能省略的段落。]

[ Nota Bene : Afin de rendre cette transcription accessible à ceux qui la liront en écoutant les CDs produits chez Gallimard sous le titre Gilles Deleuze Cinéma (2006), nous indiquons ci-dessous, d'une part, les chapitres des six disques successifs entre crochets (ici, disque V à partir du paragraphe 2, suivi de la durée de chaque piste), et d'autre part, avec les notes dans le document, l'indication des omissions éventuelles de segments de la transcription dans la production des CDs. ]

Finally, last point, fourth trait – and which seems to me the most interesting: everyone knows that no cinema, when it attains a certain level of genius, is contented by that. And we have seen the answer: there never ceases – from the oldest, most primitive cinema – there never ceases to be something astonishing which appears, namely – and this is even what defines the cinematographic image from the beginning – aberrations of movement . The cinematographic movement-image presents me with aberrations of movement. [ Pause ] All I'm saying is: pay attention here, you have to be very, very careful; you have to be … It's a question of evaluation, of sentiment, okay. These aberrations of movement, they are there! That does not prevent them from being taken up into the play of movement-images, a play that submits itself to the sensory-motor development, to the sensory-motor schema. Therefore, it doesn't prevent these aberrations of movement that are present in the movement-image from being, in a certain way, secondary.

……最好还是谨慎为妙；这与其说是革命，不如说是突变，嗯？接着是两种彼此完全独立的突变，但它们有一个共同点，即一种哲学上的突变与一种电影上的突变，二者共通之处在于：触动并颠倒运动与时间的关系。[停顿]

… Il vaut mieux être prudent ; c'est des mutations plutôt que des révolutions, hein ? Ensuite deux mutations complètement indépendantes l'une de l'autre, mais qui ont en commun ceci, une mutation philosophique et une mutation cinématographique, qui ont en commun ceci : affecter et renverser le rapport du mouvement et du temps. [ Pause ]