The first reflection-image, the first transformation of the action-image, is the figure of attraction, the attraction-image. Action-images concern the link between world and bodies where action reveals situation (action-image small form, action → situation) or situation determines action (action-image large form, situation → action). These two forms constitute a bi-directional reciprocity, a complementarity where both already reflect one another, but only virtually via the trajectory proper to each. The attraction-image will bring these two forms into immediate contact, actualising the reflection and as a consequence transforming the small and the large alike. One such contact occurs through the signs of composition of the attraction-image, where one form of the action-image is ‘injected’ into the other (C1: 182). Deleuze is here concerned with cinematic figures equivalent to tropes. A trope is a non-literal application of a word or a phrase that transforms the text in which it operates. Similarly, Deleuze writes: ‘cinematographic images have figures proper to them’ (C1: 183). There are two types, or degrees, of tropes. Perfect tropes appear as a distinct moment: as metaphor, metonymy and synecdoche. Imperfect tropes are where a figure is sustained over time: as allegory, mythology, allusion and irony. Perfect and imperfect tropes designate the two signs of composition of the attraction-image, which Deleuze names the plastic figure (perfect, first sign of composition) and the theatrical figure (imperfect, second sign of composition) (C1: 182). Plastic figures and theatrical figures – in the cinema – refer to the way in which the small form action-image is transformed by the large; and, the way in which the large transforms the small. When a film of the action-image small form (action → situation) has the large form within it, we encounter the perfect trope, a plastic figure. When a film of the action-image large form (situation → action) has the small form within it, we encounter the imperfect trope, a theatrical figure. In both cases, writes Deleuze, ‘there is no longer a direct relation between a situation and an action, an action and a situation: between the two images, or between the two elements of the image, a third intervenes to ensure the conversion of the forms’ (C1: 182). This third is a mental-image: the figure.