The world to a large extent is a vision of our own creation' We inhabit a mixed realm of sensation a

1
The world to a large extent is a vision of our
own creation. We inhabit a mixed realm of
sensation and interpretation, and the boundary
between them is never openly revealed to us. And
amid this tenuous situation, our cortex makes up
little stories about the world, and softly hums
them to us to keep us from getting scared at
night. 404
Finkel, Lief The construction of Perception in
Jonathan Crary and Sanford Kwinter (eds)(1992)
Incorporations, New York Zone, 392-405
2
In order to act upon its environment a body must
isolate from the undifferentiated flow that it
perceives only those images that interest it in
particular, upon which it can choose to act.
14 Amy Herzog(2000) Images of Thought and Acts
of Creation Deleuze, Bergson, and the Question
of Cinema.
3
The Frame
framing is the art of choosing parts of all
sorts that enter into a set (Deleuze -1983
Cinema 1)

• The closed set of the frame provides information
• The frame acts as a limiting border either
  geometrically or dynamically
• The elements enclosed by the frame are distinct
  parts, but also components of a single
  composition
• Every frame implies an angle of framing a
  position in space from which the framed image is
  shot.
• The frame both includes and excludes.
• (Bogue, 200342-43)

4
Six spatial axes of the frame 1.Above the
frame 2. Below the frame 3. To the right of the
frame 4. To the left of the frame 5. In depth
away from the camera 6. Toward and beyond the
camera (Burch Theory of Film Practice)
5
The intellect in order to act upon reality must
reduce it to a series of frozen moments. It
extracts objects from motion in order to evaluate
the action which it might perform upon them,
restoring an abstract idea of motion upon them
after the fact,
6
In order to act upon its environment a body must
isolate from the undifferentiated flow that it
perceives only those images that interest it in
particular, upon which it can choose to act.
14 Amy Herzog(2000) Images of Thought and Acts
of Creation Deleuze, Bergson, and the Question
of Cinema.
7
REPRESENTATION operates through immobilization,
spatialization. The representation becomes a sign
through which we interpret the always implied
referent. It asserts correspondences, analogies,
and associations between elements to the expense
of their differences, their dynamisms, their
movements and changes.7 Amy Herzog(2000) Images
of Thought and Acts of Creation Deleuze,
Bergson, and the Question of Cinema.
8
We tend to think of time as an abstract,
homogeneous element, which we measure by the
ticks of the clock. But the sixty marks on the
clock face are merely interchangeable, static
points, and the passage of time is more than a
mere succession of states marked into discrete
and even intervals. Bogue, Ronald(2003) Deleuze
on Cinema, New York and London Routledge, 13
9
In classical Hollywood cinema time proceeds only
as dictated by action (the action of narrative,
of cause and effect, of rationality) All
movements are governed by linear causality and
the characters are bent toward actions, which
respond to the situations of the present. 3
10
Time in conventional cinema is derived from
movement we do not experience the flow or
becoming of timetime is usually derived from the
actual or extended objects of ordered and slowed
down perception Colebrook Understanding Deleuze
153
11
Memory and imagination
Opening up of ones perceptive apparatus into a
complex of multiple connections, sensations,
perceptions and imaginings. Braidotti 178
12
Memory and imagination Remembering is about the
repetition or retrieval of information Memory is
fluid and flowing, opening up the unexpected or
virtual possibilities. 188 memories need the
imagination to empower the actualisation of
virtual possibilities in the subject. ..the
desire not to preserve but to change. 189
13
to recognize an object is to revive a past memory
of it and note its resemblance to the present
object. habituated recollection to know how to
use it perception and recollection operate
together conscious or attentive
recollection as we examine things more
attentively range over a wider and broader
contexts of memory
14
According to Deleuze the post World War II phase
saw a different engagement with time
15
Linkages between images The rational cut The
irrational cut There is no longer linkage of
associated images, but only relinkages of
independent images. Instead of one image after
another, there is one image plus anotherthe
interval or cut the cut has replaced
association. Deleuze Cinema 2 The Time Image
1989
16
The interval is a temporal figure in that it
forestalls movement, producing a gap in time
between an action experienced and the reaction
executed in response to it.this isolation in
space implies a delay The interval delays
reactions, giving them time to select, organize,
and integrate remembered information, producing a
new movement in response Rodowick, D.N. (1997)
Gilles Deleuzes Time Machine, Durham London
Duke University Press 34
17
Rational cuts interval dividing any two spatial
sections serves simultaneously as the end of the
first and the beginning of the second. Time
shown indirectly subordinated to movement Time
measyured as a process of action and reaction
Irrational cuts Interval not rationally
connected by movement but now disconnected
autonomous spaces spaces, divided into blocks of
time, no longer is interval connecting
shots. Rodowick, D.N. (1997) Gilles Deleuzes
Time Machine, Durham London Duke University
Press 4-5
18
In the direct time image, the interval no longer
functions as continuity in space, but as a series
of dislocations in time. The time image is an
image of memory.
19
The time image has two dimensions Actual and
virtual The actual refers to states of things
the physical and the real the virtual is
subjective, that is mental and imaginary, sought
out in time through memory. Often it is
impossible to distinguish between what is real
and what is imaginary.92
20
Sheets of the past One narrational schema for
the direct image of time involves discontinuous
leaps through sheets of the past. These sheets
are structured around particular details,
moments, catalysts of experience.
21
Another direct image of time is orientated with
respect to the present considered in itself
rather than in relation to the past. Deleuze
calls this peaks of the present A PRESENT OF THE
FUTURE, A PRESENT OF THE PRESENT, A PRESENT OF
THE PAST The possible pasts and futures are
negotiated as variations in the present
22
A different sense of time. No longer a coherent
continuous sense driven by action in space but a
consideration of time through memory. the
past/present and future not sensed as linear and
continuous but each imbricated (overlapping and
embedded in the other)
23
Another way of saying this is that the actual
image replaced by virtual image And this
blend can tend to a point of indiscernability One
example is Attentive recognition as FLASHBACK a
closed circuit that goes from the present to the
past then brings us back to the present
Time flashback usually incorporated in the
narrative progression EXAMPLE ONCE UPON A TIME
IN AMERICA
24
However this sense of time can develop its own
logic away from the narrative For example in The
garden of forking paths there are different
alternatives of the past/present events and they
are mutually contradictory paths EXAMPLE Citizen
Kane We leap from an actual present to a virtual
past and reincorporate the virtual into the a
point of indiscernability arrives when we cant
differentiate the virtual from the actual
25
A NARRATIVES VERISIMILITUDE DEPENDS ON ITS
ADHERENCE TO THE COMMONSENSE CORDINATES OF SPACE
AND TIME AND WHEN THESE CORDINATES ARE
ABANDONED , TIME APPEARS DIRECTLY 147
26
Narratives have a falsifying capacity a power of
the false when they unfold in simultaneous
presents or coexisting pasts Time as series that
makes possible a second kind of chronosign, a
direct image of time that involves not the order
of time but a becoming as potentialization that
renders fixed stable true identities perpetually
false 149