January 12, 1982
Bergson introduced us to a material universe of movement-images. And we plunged into this universe of movement-images that appeared as a world of universal interactions between images. And he showed how in this universe of movement-images, there was a chance distribution of a number of centers of indetermination.
In the first year of Deleuze's consideration of cinema and philosophy, he develops an alternative to the psychoanalytic and semiological approaches to film studies by drawing from Bergson's theses on perception and C.S. Peirce's classification of images and signs. While he devotes this first year predominantly to what he considers to be the primary characteristic of cinema of the first half of the 20th century, the movement-image, he finishes the year by emphasizing the importance of the post-World War