David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Deleuze Studies 5 (3):358-382 (2011)
In Cinema 1 Deleuze creates the taxonomy of the movement-image by extending Henri Bergson's account of the sensory-motor process in Matter and Memory through the semiotic system of Charles Sanders Peirce. Through this nexus of Bergson and Peirce, Deleuze can account for each image and sign, their impetus and their relationship to one another. In contrast, the taxonomy of the time-image, the focus of Cinema 2, is given no such genesis. Rather, the images and signs appear in situ, as if ready-made. This article proposes that the impetus for the taxonomy of the time-image lies in the account given of the three passive syntheses of time in Difference and Repetition, and that the nine aspects of the passive syntheses can be seen to correspond to the nine proper signs of the time-image
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References found in this work BETA
Ronald Bogue (2003). Deleuze on Cinema. Routledge.
G. Deleuze (2000). The Logic of Sense. Filosoficky Casopis 48 (5):799-808.
Gilles Deleuze (1988). Bergsonism. Zone Books.
Gilles Deleuze (1994). Difference and Repetition. Athlone Press.
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