Around The Time Of The World

This paper attempts to discuss Deleuze’s film philosophy. Based on Deleuze and Bergson’s dialogue in movement-image and time-image, it explores some links between the images and time.Deleuze redefines decisive condition and content of film by deliberating Bergson’s views. He distinguishes instant photography from photo, regarding film as the reproduction system of movement. Besides, he concludes "memory-loops" saying according to the analysis of Matter and Memory by Bergson, then using it to analyse the relationship between the actual and potential images. Potential images are the coexistence of the general past. Actual images are the present. We can tell the pure time in their smallest cycle.We’ll explain the concept crystal-image creating by Deleuze in the fourth chapter. A large part of the theoretical foundation still inherits from Bergson’s "stretches". Deleuze considers that there is a crystal-Image:continuous cycle of feelings and memories, real and imagined, physical and mental images around a minimum core operationThis kernel is a polymerization of reality and the potential. Each side has indelible differences but can’t be determined. They can also be changed freely and are not be recognized.Since Deleuze isn’t a total photographic image substantialist, we’ll compare the film theory between Bazin’s and Deleuze’s in the fifth chapter. In this way, we can tell what he has inherited from others and what makes him different. Then we’ll use the visual iconography of images to expound the hearing iconography, compare the classical and modern images by the simplest distinctions with the silent and sound films and discuss the new iconography of time-image.The Conclusion will focus on the summary of Deleuze’s view of images and time previously mentioned.