By Gilles Deleuze
Cette étude n’est pas une histoire du cinéma, mais un essai de category des pictures et des signes tels qu’ils apparaissent au cinéma. On considère ici un best style d’image, l’image-mouvement, avec ses variétés principales, image-perception, image-affection, image-action, et les signes (non linguistiques) qui les caractérisent. Tantôt los angeles lumière entre en lutte avec les ténèbres, tantôt elle développe son rapport avec le blanc. Les qualités et les puissances tantôt s’expriment sur des visages, tantôt s’exposent dans des « espaces quelconques », tantôt révèlent des mondes originaires, tantôt s’actualisent dans des milieux supposés réels. Les grands auteurs de cinéma inventent et composent des photos et des signes, chacun à sa manière. Ils ne sont pas seulement confrontables à des peintres, des architectes, des musiciens mais à des penseurs. Il ne suffit pas de se plaindre ou de se féliciter de l’invasion de los angeles pensée par l’audio-visuel ; il faut montrer remark los angeles pensée opère avec les signes optiques et sonores de l’image-mouvement, et aussi d’une image-temps plus profonde, pour produire parfois de grandes œuvres. Cet ouvrage est paru en 1983.
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Guess what? CIA director Dragon blackmails him out of retirement in return for the IRS ignoring his secret art collection. He assassinates (sanctions) two men who’ve killed a CIA agent but another agent, Jemima Brown, disguised as a stewardess, beds him and steals the IRS pardon back. Hemlock learns the two men he killed murdered a friend, and that another agent, Miles, betrayed them. He agrees to another sanction, which involves joining a team climbing the Eiger. One of the climbers is a traitor who Hemlock must unmask and kill.
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Cinéma 1 - L'image-mouvement by Gilles Deleuze