# Annotation Summary of d-n-rodowick-afterimages-of-gilles-deleuzes-film-philosophy.pdf. #### Introduction: What Does Time Express? *Underline [page 14]:* time is the Event defined as the everrecurring possibility for the creation of the new. *Highlight [page 14]:* it would develop as an art, much less as a philosophical machine. *Underline [page 14]:* There is a phrase from Foucault that has gripped me from the first time I read it: that the reason for writing is to become other than I am, and to think other than I think *Highlight [page 15]:* Penser autrement, or to think otherwise, is the highest task of philosophy and for a critical mind— *Underline [page 15]:* and Guattari were philosophical friends for Deleuze, intercessors who pushed his thinking to new creative acts. *Highlight [page 16]:* Furthermore, as moving images became more and more electronic and digital, the destiny of the time-image and its immanent relation to duration, so closely tied to analogical and photographic materiality, was thrown into question. *Underline [page 16]:* What might be the future of Time in the silicon era? *Underline [page 16]:* Foucault, Logic of Sensation, *Highlight [page 17]:* ideas in philosophy are already oriented by a certain kind of conceptual image, what Deleuze calls the image of thought, and so a *Underline [page 17]:* materiality of cinematic expression *Highlight [page 19]:* philosopher-artists. The authors chart a complex trajectory of concepts leaving, returning to, and passing across The Movement-Image and The Time-Image *Underline [page 20]:* philosophy-as-art. *Underline [page 21]:* the most provocative and original work included in this book, Patricia MacCormack offers a feminist manifesto on embodied spectatorship as “Cinemasochism: Submissive Spectatorship as Unthought.” *Highlight [page 21]:* in cases of “extreme cinema,” MacCormack argues, affect rises to a level of intensity at which the immanent relation between image and spectator demands submission before comprehension, taking the viewer outside of metonymy, meaning, and time toward a spatial ecstasy or *Highlight [page 24]:* Personal images—taken, saved, and sent—are now mobile sections of time in a manner different from the film shot, as they create a narrative in their movement through time and space to the screens of others. Such images are also immanent as shared actualizations, a cinema created by every viewer. *Underline [page 24]:* As such, photography is now closer to the virtual insistence of pure recollections in time than the recollection-images, memory-images, and dream-images that form the materials of the so-called Kodak moments of everyday life. *Highlight [page 24]:* Here, in what might be called a time-space image, we find an impossible mode of temporality returned to a function of movement, not indirectly but directly, where time is rendered planar and mobile in itself, shuffled and reversible. *Highlight [page 24]:* a philosophy of the new media interface #### 2. Image or Time? The Thought of the Outside in The Time-Image (Deleuze and Blanchot) *Highlight [page 47]:* . It arises with the emergence of a “third time-image,” 32placed under the auspices of Orson Welles and the simulacrum, that ruins the “truth of time” 33by making the image enter the orbit of the false. The rupture consecrates, in Deleuze’s terms, the end of the order of time, until then regulated *Highlight [page 47]:* by the succession or by the simultaneous coexistence of different temporal relations. This regime of chronological time gives way to the series of time, which no longer allows us to distinguish the before and the after because they are joined in a becoming “that digs the interval into the moment itself.”34 *Highlight [page 48]:* Becoming, as lack of the present, is already at work in the first timeimage; the present depends only on the crystal, which shows to what extent it is fragile. And if one sees time in the crystal, it is an originary secession of a time that flies in and by the time-image. *Highlight [page 48]:* Like a thought of the outside, becoming overcomes, head on or underground, the entirety of a system in which the present would always be lacking if the image did not guarantee presence by guiding exteriority back toward the intimacy, crystalline or fissured, of visibility itself. *Underline [page 48]:* The Time-Image, the image is there to save us from time, this endless line of flight. #### 4. Mutual Images: Reflections of Kant in Deleuze’s Transcendental Cinema of Time *Highlight [page 82]:* ) Kant goes on to illustrate the kinship and coherence of the relational whole of the transcendental and ideal, supersensible domain of thought through the analogy of the principle of conic sections traced by gravitational celestial motion. In his fascinating mental cartography, or rather topology, where relations are considered in themselves, Kant even includes hyperbolic paths. This, I would argue, lends his mind-model a non-Euclidean slant that is ahead of his time but in line with the spherical geometrical and hyperbolic trigonometric discoveries of his age.69 *Highlight [page 83]:* Kant’s reductio ad absurdum (which is the ultimate, if perhaps undeclared, trajectory of transcendental reflection), *Highlight [page 83]:* “most fundamental operation of time”—a time that “has to split itself at each moment as present and past,” a present that passes and a past that is preserved—but also the basic moment, or “smallest circuit”: a simultaneously actual and virtual consciousness, which Deleuze, with Bergson, envisions as the “vanishing limit between the immediate past which is already no longer and the immediate future which is not yet . . . [a] mobile mirror which endlessly reflects perception in recollection.” 80This vanishing limit is, of course, quite similar to Kant’s lingering imaginary focus, appearing beyond the limit of experience as an object behind the mirror’s plane. *Highlight [page 83]:* Kant as the architect of the “I is another,” the splitting of the subject by time that moves into it as a form of interiority. *Highlight [page 83]:* “the subject can henceforth represent its own spontaneity only as that of an Other,” always deferred from its sensible self, divided and delayed by time. 81 *Underline [page 84]:* 2ZYZFQ_.RFLJX____ 59 time, and of that which happens in time, by dividing up the present, the past and the future at every instant.” *Highlight [page 84]:* form of interiority *Highlight [page 84]:* transcendental reflexive dimension, *Highlight [page 84]:* conceptual function. *Underline [page 85]:* Learning to Like the Symptom: Aesthetic Reflection as Time-Image *Highlight [page 86]:* which constitutes a reflection on mental reflexivity itself *Highlight [page 86]:* We linger in our contemplation of the beautiful, because this contemplation reinforces and reproduces itself. *Underline [page 86]:* This is analogous to (though not the same as) the way in which we linger over something charming that, as we present an object, repeatedly arouses our attention, [though here] the mind is passive.”94 *Highlight [page 86]:* meditations on recollection-images and their role in the formation of the crystalline image of time. *Highlight [page 87]:* This unconscious process of projecting “one image onto another” (perhaps even “a thousand”) constitutes an aesthetic standard idea by abstraction. 98Little wonder that Deleuze considers the cinematic technique of superimposition—together with dissolves, complex camera movements, and special effects—as a reference to a “metaphysics of the imagination.” *Highlight [page 88]:* Similar to the Kantian mental lingering in the contemplation of the beautiful—the heterogeneous yet mutually compatible terms of which continually reinforce and reproduce their free indefinite relationshipBergson’s pairing of an optical and sound image with a recollectionimage brings into play two related terms, which differ in nature “and yet ‘run after each other,’ refer to each other, reflect each other, without being possible to say which is first, and tend ultimately to become confused by slipping into the same point of indiscernibility.” 104It is quite apparent that the two-sided crystalline description organized around a point of indiscernibility (or should we say, internally reflexive focus imaginarius) as its “smallest circuit,” or internal limit, is modeled on the Kantian dynamic of free and indeterminate aesthetic play of the faculties, which is grasped and made to linger, almost as a freeze-frame, in its barely discernible duality and continuous reciprocity between “perception and recollection, the real and the imaginary, the physical and the mental.”105 *Underline [page 91]:* “are very often so imperceptible that they cannot be revealed until after their occurrence, to attentive memor *Underline [page 91]:* such a shockingly compounded temporal experience, one of becoming one with time as well as being in time, and one, moreover, that Deleuze and Guattari construe as the coexistence of the accident and the event. 120In fact, Deleuze acknowledges the “open and changing totality” of time as the agency, the motor force behind the mental devastation of the sublime. *Highlight [page 91]:* Time, however, remains tied to an indirect (negative) presentation in the sublime 121that intimates the spiritual-energetic flow of the supersensible force field captured in Bergson’s generic movement-image. *Underline [page 91]:* there is still mediation, that we are not brain-dead. *Underline [page 91]:* bipolar aesthetic reflection appears to form mutual image *Highlight [page 91]:* The beautiful and the sublime complement each other in making apparent an instance of indiscernible difference in inherently dual images *Highlight [page 91]:* Deleuze’s interest is clearly invested in the beautiful *Highlight [page 91]:* Deleuze may wish to remind us that the imagination’s ungraspable act of superimposing a multitude of images in aesthetic reflection is not only a process of abstraction, *Highlight [page 91]:* Deleuze seeks to revisit such lingering moments of absentmindedness—filled with extinction as much as recollection, with jump cuts as well as “free” association—in his new aesthetic of the time-image. *Underline [page 91]:* , in a transcendental, and transcendent, *Underline [page 92]:* dimension immanent to thought *Underline [page 92]:* ranscendental ratio shown as endlessly vanishing through the imaginary focus of a cinema that saves time for us. *Underline [page 92]:* to send into the future a feature that cuts across all ages. *Underline [page 92]:* cogent #### 5. Darkness and Light *Underline [page 101]:* To make a movie, to produce the illusion of mobility, we need something else. We need thousands of frames that exist as immobile states, this frame and that; we need minutely sequential frames and much more movement. 1This is possible with film, for which movement is within the apparatus. For traditional filmmaking, cinematographic movement consists in bringing together many sequential images, many successive attitudes to reconstitute mobility. *Highlight [page 101]:* The filmmaking and film-projecting apparatus, *Underline [page 103]:* The role of perception is to serve the intellect *Underline [page 103]:* In this aspect of our sensibility, we fail completely as narcissists. *Highlight [page 103]:* For most people, alcohol and entertaining distractions are evidence of the extreme discomfort *Highlight [page 105]:* what is moving always moves in the present; ( *Highlight [page 105]:* . In other words, “time” is composed of moments or instants; it is a series of immobile “nows.” *Highlight [page 105]:* The moving arrow is “never moving, but in some miraculous way the change of position has to occur between instants.” 12“Every attempt to reconstitute change out of states implies the absurd proposition, that movement is made of immobilities”; it forms the basis of the “cinematographic” mechanism of our ordinary knowledge, a mechanism that makes motion an illusion. 13 *Underline [page 105]:* Can a moving arrow be in a position that is motionless *Underline [page 105]:* Representations of trajectories in geometric *Underline [page 106]:* state space or of the time series (called a graph) of the trajectory were *Underline [page 107]:* the so-called psychic reality in consciousness, between these two and the cinematographic image is a dynamical model of observable behavior. 1 *Highlight [page 107]:* It is a model for the habitual tendencies of the situation as it moves from one state to another. *Underline [page 107]:* “The Film and the New Psychology, *Highlight [page 107]:* , it has been declared, philosophy will be in harmony with cinema; *Highlight [page 107]:* Hoping only to entertain ourselves by gazing at some photographs, we have instead become mired in problems. *Highlight [page 110]:* o does movement. Thus the discrete transition of an object from one room to another does not intuitively constitute movement for us because we assume that movement can only take place within a continuous system whose rules do not allow either discontinuous or discrete transitions. This, however, may be our error. *Underline [page 110]:* Music, sound, and noise also contribute to the expressive force of this montage. Characters are created out of vocal and visual components, parts that add up to more than a whole, not simply through expository dialogue, but through tone of voice and the dramatic interactions between characters, scenes, lighting, and sounds, each of which consists of myriad components. In all this, it is the ensemble that produces the expression. Here, understanding serves imagination, and the idea that is the film emerges from its many component parts, parts that emerge into a whole, *Highlight [page 110]:* pushed forward by the rhythm, that is, the temporal structure of the film, the temporal and spatial arrangement of its elements. But by this means, cinema produces a world that is more exact, *Highlight [page 112]:* contradiction, but this is the very foundation of the philosophy of difference, whose Kantian subject knows nothing but does all or is done to by the infinity of affects, percepts, procepts, and concepts. *Underline [page 112]:* this philosophy, too, will not take the risk of the excluded middle *Highlight [page 112]:* fragmented subject into the flux of deterministic chaos—the dynamical system or the plane of immanence, whose contingencies are infinite but whose rules are fixed. *Highlight [page 112]:* bloc of space-time,” *Highlight [page 112]:* en like the succession of film frames, time isolates any moment whatsoever, putting them all in the same rank. *Underline [page 112]:* ontological conception *Underline [page 115]:* spatiotemporalization *Underline [page 118]:* Phenomenology of Perception *Underline [page 118]:* “Framed and Exposed: Making Sense of Camera Sensors,” August 25, #### 9. Cinemasochism: Submissive Spectatorship as Unthought *Underline [page 182]:* Particularly in films that push the affect of the image to its extreme—from horror to abstract films—submission to the image beyond comprehension takes the viewer outside of film’s metonymy, meaning, and time toward the kind of spatial ecstasy forged within the folding of film with embodied spectatorship *Highlight [page 182]:* Feminist, structuralist, and psychoanalytic film theory have long been seduced by a sadistic conception of the gaze expressed through the dialectic of the phallic eye and the nonconsenting “to-be-looked-at” object *Underline [page 184]:* Meaning is made apparent through the function of making it appear via something else, prior to the image as event or pleasure as rupture. *Highlight [page 184]:* The compulsion to experience images and pleasures via their emergence through transcendental meaning acknowledges and circumscribes the force of all flows that exceed lack, transcendence, and a relation to established significations. *Highlight [page 184]:* Reading an image and defining a desire for that image through the ritual of watching and reading thus segment pleasure. In The TimeImage, Deleuze affirms the inexhaustibility of any one image to be created by and to create phyla of series and structure. Can we extricate cinematic pleasure from its relationship with visual and linguistic series and structure? Cinematic pleasure would here be inextricable from