Appendix A

Deleuze s "Toolbox" of Cinema i and Cinema 2

Cinema 1: The Movement-Image Indirect Time Montage > How are images linked (to perception / affection / action)
Category (Bergson) Perception-image a. Semisubjectivity (free indirect discourse) b. Liquid perception Sign (Peirce) Zeroness a. Dicisign Look Long-shot General Activity Form

Space

Examples

a. (Theory of) Pasolini b. French school (Vigo, Renoir) c. Cin^-eye (Vertov); American experimental cinema (Brakhage)

b. Reume

c. Gaseous perception c. Gramme Affection-image a. Face (quality / power) Firstness a. Icon Emotion Affect Close-up Empty or any-spacewhatevers

b. Qualisign / potisign b. Any-space-whatevei (quality / power) c. Dividual c. Between social + individual Impulse-image a. Symptoms b. Fetish / idols Action-image a. Large form: SAS' (Situation-ActionNew Situation) b. Small form: ASA' (Action-SituationNew Action) Secondness a. Synsign Binome Imprint b. Index Vector

a. Von Sternberg / Bergman / Dreyer b. Bresson / Ivens / Antonioni c. Eisenstein

Von Stroheim / Bunuel / Losey

Action Behavior

Medium- Determined shot

a. Genres: docu (Flaherty) / psycho-social / film noir / nation + historical films / actors studio / burlesque (Keaton) / western b. Genres: docu (Grierson) / direct-cinema / police films / comedy / burlesque (Chaplin) / neo-western Eisenstein / Herzog Kurosawa / Mizoguchi

Reflection-Image

a. Figure b. Discursive

Relation-image

Thirdness Mental a. Mark/demark activity b. Symbol

Tropes

Marx Brothers Hitchcock

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Toolbox of Cinema i and Cinema 2

Beyond the movement-image: Break with sensory-motor link No more distinction real / fiction > virtual / actual form crystals Autonomy of image and sound

Cinema 2: The Time-Image

Direct Time Montage > Montrage (What does the image show; what does it relate to if not to a perception / affection / action: to memory, time + thought)
Actualization of past I imaginary:
Memory / Dream Recollection-image Dream-image

Sign
Mnemosign Onirosign

Comment Flashback Metamorphosis of the real

Opsigns + Sonsigns + Tactisigns > Pure optical, sonar + tactile situations

Actual and virtual become indiscernible (crystals):
Direct Time-Images Crystal-image (real / imaginary) Sign Hyalosign Aspect Perfect (Ophiils) Cracked (Renoir) In formation (Fellini) Decomposing (Visconti) Chronosign a. Aspect (true / false: powers of the false) b. Accent c. Gensign a. Sheets of past (Resnais) b. Peeks of present (Robbe-Grillet)
c

Comments World is shown as a crystal trapped in endless mirror reflections

a + b: Memory (Bergson) c. Bodily forces (Nietzsche / Spinoza)

- Becoming (Welles / Rouch / Godard) Free indirect speech / the irrational a. "Give me a body" b. "Give me a brain" c. "The people are missing" Autonomy of components of image (words, sound, music)

Noosign (what forces to think: noochoc)

a. Godard / Antonioni / Akerman b. Resnais / Kubrick / Antonioni c. Third world cinema / political cinema Straubs / Duras

Lectosign (the readability of the image)

Appendix B

Glossary to Cinema i and Cinema 2

From Cinema 1: The Movement-Image (London: Athlone Press, 1986) pp. 217-18; and Cinema 2: The Time-Image (London: Athlone Press, 1989) P. 335Movement-Image The acentered set {ensemble) of variable elements that act on and react to each other. Image Center The gap between a received movement and an executed movement; an action and a reaction {interval). Perception-Image (the Thing) A set {ensemble) of elements that act on a center and that vary in relation to it. Dicisign: A term created by Peirce to designate principally the sign of the proposition in general. It is used here in relation to the special case of "free indirect proposition" (Pasolini). It is a perception in the frame of another perception. This is the status of solid, geometric, and physical perception. Reume: Not to be confused with Peirce's rheme ("word"). It is the

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Glossary to Cinema 1 and Cinema 2 perception of that which crosses the frame or flows out, the liquid status of perception itself. Gramme (engramme or photogramme): Not to be confused with a photo, it is the genetic element of the perception-image, inseparable as such from certain dynamisms (immobilization, vibration, flickering, sweep, repetition, acceleration, deceleration, etc.), the gaseous state of a molecular perception.

Affection-Image (Quality or Power) That which occupies the gap between an action and a reaction, that which absorbs an external action and reacts on the inside. Icon: Used by Peirce to designate a sign that refers to its object by internal characteristics (resemblance). Used here to designate the affect as expressed by a face or a facial equivalent. Qualisign (orpotisign): A term used by Peirce to designate a quality which is a sign. Used here to designate the affect as expressed (or exposed) in an any-space-whatever. An any-space-whatever is sometimes an emptied space, sometimes a space the linking up of whose parts is not immutable or fixed. Dividual: That which is neither indivisible nor divisible but is divided (or brought together) by changing qualitatively. This is the state of the entity, that is to say, of that expressed in an expression. Impulse-Image (Energy) Symptom: Designates the qualities or powers related to an originary world (defined by impulses). Fetish: Fragment torn away by the impulse from a real milieu, and corresponding to the originary world. Action-Image (the Force or Act) A reaction to the center to the set {ensemble) Synsign (or encompasser): Corresponds to Peirces "sinsign." A set of qualities and powers as actualized in a state of things, thus constituting a real milieu around a center, a situation in relation to a subject: spiral. Belongs to the large form of the action image where we go from the situation to the transformed situation via the intermediatry of the action (SAS').

Glossary to Cinema i and Cinema 2

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Impression: Internal link between situation and action. Index: Used by Peirce to designate a sign that refers to its object by a material link. Used here to designate the link of an action (or of an effect of action) to a situation that is not given, but merely inferred or that remains equivocal and reversible. There are indices of lack and indices ofequivocity: the two senses of the French word ellipse (ellipse and ellipsis). Belongs to the small form of the action-image where the action that discloses the situation triggers of a new action (ASA'). Vector (or line of the universe): A broken line that brings together singular points or remarkable moments at the peak of their intensity. Vectorial space is distinguished from encompassing space. Transformation-Image (Reflection) Figure: A sign that, instead of referring to its object, reflects another (scenographic or plastic image) or that directly reflects its object {discursive image). Mental-Image (Relation) Mark: Designates natural relations, that is, the aspect under which images are linked by a habit which takes [faitpasser] us from one to the other. The demark designates an image torn from its natural relations. Symbol: Used by Peirce to designate a sign that refers to its object by virtue of a law. Used here to designate the support of abstract relations, that is to say, of a comparison of terms independently of their natural relations. Opsign and Sonsign: Pure optical and sound image that breaks the sensory-motor links, overwhelms relations, and no longer lets itself be expressed in terms of movement but opens directly to time. Time-Image Chronosign (point and sheet): An image in which time ceases to be subordinate to movement and appears for itself. Lectosign: A visual image that must be "read" as much as seen. Noosign: An image that goes beyond itself toward something which can only be thought.

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Glossary to Cinema i and Cinema 2

Crystal-Image Hyalosign: The uniting of an actual image and a virtual image to the point where they can no longer be distinguished. Dream-Image Onirosign: An image where a movement of world replaces action. Recollection-Image Mnemosign: A virtual image that enters into a relationship with the actual image and extends it.