Book contents
- Frontmatter
- Contents
- Figures and frames
- Acknowledgements
- Abbreviations
- Preface: a Deleuzian cineosis
- PART ONE UNFOLDING THE CINEOSIS
- Section I First Introduction – Two Regimes of Images
- Section II Second Introduction – A Series of Images and Signs
- 1 Perception-images
- 2 Affection-images
- 3 Impulse-images (the nascent action-image)
- 4 Action-images (small form, action → situation)
- 5 Action-images (large form, situation → action)
- 6 Attraction-images (first reflection-image; sixth mental-image)
- 7 Inversion-images (second reflection-image; fifth mental-image)
- 8 Discourse-images (third reflection-image; fourth mental-image)
- 9 Dream-images (third mental-image)
- 10 Recollection-images (second mental-image)
- 11 Relation-images (first mental-image)
- 12 Opsigns and sonsigns
- 13 Hyalosigns
- 14 Chronosigns
- 15 Noosigns
- 16 Lectosigns
- Afterword to Part One: the unfolded cineosis
- PART TWO ENFOLDING THE CINEOSIS
- Section III Third Introduction – Cinematographics (1995–2015)
- Select Bibliography
- Filmography
- Index
11 - Relation-images (first mental-image)
from Section II - Second Introduction – A Series of Images and Signs
Published online by Cambridge University Press: 18 December 2019
- Frontmatter
- Contents
- Figures and frames
- Acknowledgements
- Abbreviations
- Preface: a Deleuzian cineosis
- PART ONE UNFOLDING THE CINEOSIS
- Section I First Introduction – Two Regimes of Images
- Section II Second Introduction – A Series of Images and Signs
- 1 Perception-images
- 2 Affection-images
- 3 Impulse-images (the nascent action-image)
- 4 Action-images (small form, action → situation)
- 5 Action-images (large form, situation → action)
- 6 Attraction-images (first reflection-image; sixth mental-image)
- 7 Inversion-images (second reflection-image; fifth mental-image)
- 8 Discourse-images (third reflection-image; fourth mental-image)
- 9 Dream-images (third mental-image)
- 10 Recollection-images (second mental-image)
- 11 Relation-images (first mental-image)
- 12 Opsigns and sonsigns
- 13 Hyalosigns
- 14 Chronosigns
- 15 Noosigns
- 16 Lectosigns
- Afterword to Part One: the unfolded cineosis
- PART TWO ENFOLDING THE CINEOSIS
- Section III Third Introduction – Cinematographics (1995–2015)
- Select Bibliography
- Filmography
- Index
Summary
The mental-image as a movement-image of thought ‘finds its most adequate representation in relation’, the relation-image (C1: 197). Relation-images are designated by Deleuze as rendering logical and symbolic thought on-screen, for the character, for the viewer. In this way, the film is now dominated by images of understanding: logical progressions which may structure the entire trajectory of the narration; may be carried to a certain point before a derailing; or may describe amorphous symbolical meaning. In other words, the relation-image takes the processes of thought to the highest levels of active and reactive consciousness. The perception-image, the affection-image and the action-image no longer follow the sensory-motor trajectory of matter-images; rather, matter-images enter into mental relations. This is ‘the essential point’ for Deleuze: ‘action, and also perception and affection, are framed in a fabric of relations. It is this chain of relations which constitutes the mental image, in opposition to the thread of action, perceptions and affections’ (C1: 200). Put simply, ‘actions, affections, perceptions, all is interpretation, from beginning to end … the images are only the winding paths of a single reasoning process’ (C1: 200). The signs of the relation-image are designated as the mark, the demark and the symbol. The mark and the demark are the first and secondary signs of composition. With the mark ‘we see a customary series such that each can be “interpreted” by the others’ (C1: 203). With the demark ‘it is always possible for one of these terms to … appear in conditions which take it out of its series’ (C1: 203). In other words, an established sequence takes a swerve, and the demark becomes an image which reorients, disturbs or ungrounds the logic of the series. The symbol, the genetic sign, describes an abstract relation: ‘a concrete object which is the bearer of various relations or of variations of a single relation’ (C1: 204). Such are the coordinates of the final movementimage, the consummation of the sensory-motor system as an image of thought, the first and foremost mental-image.
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- Deleuze's Cinema BooksThree Introductions to the Taxonomy of Images, pp. 132 - 137Publisher: Edinburgh University PressPrint publication year: 2016