1981-11-01 to 1982-06-01

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. Perice'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 II shift toward the domination of the time-image in cinema.

Lectures in this Seminar

Cinema: The Movement-Image / 01
Cinema: The Movement-Image / 02
Cinema: The Movement-Image / 03
Cinema: The Movement-Image / 04
Cinema: The Movement-Image / 05
Cinema: The Movement-Image / 06
Cinema: The Movement-Image / 07
Cinema: The Movement-Image / 08
Cinema: The Movement-Image / 09
Cinema: The Movement-Image / 10
Cinema: The Movement-Image / 11
Cinema: The Movement-Image / 12
Cinema: The Movement-Image / 13
Cinema: The Movement-Image / 14
Cinema: The Movement-Image / 15
Cinema: The Movement-Image / 16
Cinema: The Movement-Image / 17
Cinema: The Movement-Image / 18
Cinema: The Movement-Image / 19
Cinema: The Movement-Image / 20
Cinema: The Movement-Image / 21