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Deleuze and History$
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Jeffrey Bell and Claire Colebrook

Print publication date: 2009

Print ISBN-13: 9780748636082

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748636082.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 28 July 2021

Cinema, Chronos/Cronos: Becoming an Accomplice to the Impasse of History

Cinema, Chronos/Cronos: Becoming an Accomplice to the Impasse of History

Chapter:
(p.161) Chapter 8 Cinema, Chronos/Cronos: Becoming an Accomplice to the Impasse of History
Source:
Deleuze and History
Author(s):
Jeffrey A. Bell, Claire Colebrook
Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748636082.003.0009

This chapter considers the cinematic medium as a confederate to the impasse of history. Gilles Deleuze develops two semiotics that explore a vast taxonomy of movement-images and time-images. He provides two theses for the transformation of the movement-image to the time-image. In the transformation of the movement-image into the time-image, it is not that the movement-image is replaced, rather it is as if it has been overcome, becoming a ‘first dimension’. Deleuze's images and signs of the cinema are ahistorical. It is mentioned that the movement-image is time as Chronos, the time-image is time as Aion. The reason why there are no films of the Japanese New Wave that investigate the A-bombing of Hiroshima and Nagasaki is then dealt. It is apparent that the movement-image presents no simple, single form of history. The beauty of the time-image is reflected by a beauty of the movement-image.

Keywords:   history, cinematic medium, movement-image, time-image, Gilles Deleuze, Japanese New Wave, Chronos, Aion, A-bombing

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