Deleuze Cinema 1 (notes)

Through research for one of my essays I was introduced to the writings of Deleuze in which he speaks of the cinema image and deconstructs any ideas and concepts embedded within the screen. Focusing on the idea of the screen I was able to pick a few examples of his text that interest my research for my practice. The idea of the point of view of a piece of work is of interest, I hope to ask my viewer to explore the work in an unfamiliar situation. I'm currently thinking about the idea of a 'viewing box' rather than dolls house, as the dollshouse seems rather traditional for my concepts and the deconstruction of cinematic techniques. I will continue experimenting with the dollshouse as my screen, but I feel the work should create a rather intensive, Janet Cardiff inspired experience.

Notes from Deleuze's Cinema 1

P13 The frame therefore forms a sets which has a great number of parts, that is of elements, which themselves form subsets. It can be broken down.

Image [en image]

Elements are the data [données]

P14 The frame has always been geometrical or physical

The frame is therefore sometimes conceived of as a spatial composition of parallels and diagonals

The frame is conceived as a dynamic construction in act [en acte], which is closely linked to the scene, the image, the characters and the objects which fill it.

P15 physical or dynamic conception of the frame produces imprecise sets which are now only divided into zones or bands.

P16 The cinematographic image is always dividual. This is because, in the final analysis, the screen as the frame of frames, gives a common standard of measurement to things which do no not have one – long shots of countryside and close-ups of the face…-part which do not have the same denominator of distance, relief or light. In all these scenes the frame ensures a deterritorialisation of the image.

the frame is related to an angle of framing. This is because the closed set is itself an optical system which refers to a point of view on the set of parts.

p20 Cutting [decoupage] is the determination of the shot, and the shot, the determination of the movement which is established in the closed system, between elements or parts of the set.

it is the relationship between parts and it is the state [affection] of the whole.

From one point of view, it’s called relative; from the other , it’s called absolute.

P25 movement is therefore not for itself as remains attached to elements, characters and things which serve depth, such that the moving body goes through it in passing from one spatial shot/plane [plan] to another…

p26 define a primitive state of the camera where the image is in movement rather than being movement-image.

P27 multiple points of view.

Depth is no longer conceived

P29 False continuity is neither a connection of continuity, nor a rupture or a discontinuity in the connection.