Cinema Image: From Movement To Time

As one of the most important thinker in contemporary France,Gills Deleuze is well known by his "Philosophy of Difference" and "Nomadic Thiought",which focus on anti-center and anti-structure.And his famous film theory,"The Movement—Image" and "The Time—Image," offer a unique perspective which combines the film and philosophy. Deleuze reveals the unique features of film images,and gives a link to the conversion of image format and the changes of philosophical thinking,which becomes a close "intertextuality" between film and philosophy,In previous studies,Deleuze's analysis of the film was usually considered as an explain to his philosophy,but in this article,it shows that Deleuze's philosophy has opened a new research dimension to the film theory, especially provided a new perspective for studing the contemporary films.Therefore,this paper argues that Deleuze's film theory has its unique theoretical and practical significance.Deleuze follows Bergson's thought,and argues that the real "time" is a stretch of duration built in spirit,but not only the measuring of movement.Movement should be belong to time,and free time for the heterogeneous nature of the petition shows the irregular movement.Deleuze believes that the film image with the performance of "universal change" movement in the heterogeneity of ability to show direct images of time.This paper attempts to base on the clue of time constructing in films,for combing the film theory of Deleuze.In the first chapter,it sorts out the philosophy sources of Deleuze's film theory.Then in the second chapter,it discusses the relationship of the movement image and the time in films,reveals the possibility for film images to show Time by camera movement and montage,and points out that this is the theoretical basis. Then in the third chapter,this article will set out the classic movie image has built a chronological time through the "movement—images" models in its development process (mainly before World WarⅡ).And from the post-war movie movement of Italian neo-realism,the film images started to get away from a rational cut and chronological time construction,and give an open perspective to the non-chronological time,showing the direct time—image,which all base on the "movement-images".And in chapterⅣof this article,it describes in details the core of Deleuze's film theory—"the time—image." In this chapter,it primarily focuses on the definition and concepts of "pure optical and sound situations," "a point of indiscernibility" "forks of time" to analysis the theory structure of "the time—image" thought.Meanwhile,it combined with the new performances in the contemporary films to analyze the possibility of expression to the "open time".Finally,this article summarizes about the characteristics of Deleuze's film theory,and discusses its practical significance.This article holds that the film theory of Gilles Deleuze has its rich and long-term vitality,and is also worthy of our continued concern with the excavation.