Title
The TimeImage (Cinema),Used
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Cinema 2: The TimeImage brings to completion Gilles Deleuzes work on the theoretical implications of the cinematographic image. In Cinema 1: The MovementImage, Deleuze proposed a new way to understand narrative cinema, based on Henri Bergsons notion of the movementimage and C. S. Peirces classification of images and signs. In Cinema 2, he explains why, since World War II, time has come to dominate film: the fragment or solitary image, in supplanting narrative cinemas rational development of events, illustrates this new significance of time.Deleuze ascribes this shift to the condition of postwar Europe: the situations and spaces we no longer know how to describebuildings deserted but inhabited, cities undergoing demolition or reconstructionand the new race of characters who emerged from this rubble, mutants, who saw rather than acted. Deleuze discusses the films of Rossellini, De Sica, Fellini, Godard, Resnais, Antonioni, Pasolini, Rohmer, Ophuls, and many others, suggesting that contemporary cinema, far from being dead, is only beginning to find new ways to capture time in the image.
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