| In "Cinema 1:The Movement-Image" and "Cinema 2:The Time-Image",Gilles Deleuze stated issues on ontology,classification,movement,time and thought of film from the perspective of philosophy through integrating philosophy with film and proposing a metaphysical dimension for film research.Gilles Deleuze did not explain film from a phenomenology-oriented aspect who also refused to conduct combining analysis of film in a linguistic mode.By investigating the movement essence and different time levels of film images,he re-established classification principles of image and discussed several levels generated by perception to endow an aesthetic standard beyond tradition and established cognitive power with film.Therefore,this paper attempted to find a sound way of understanding Deleuze’s idea of philosophical film and cinematic philosophy based on Deleuze’s image thought.In addition,it also focuses on the theme of "becoming" and discusses two dimensions of Deleuze’s image theory system with four issues running through.At first,by comparing differences between Deleuze’s and traditional image theory,this paper explains why becoming-image is unidimensional in traditional film theory and presents two dimensions in Deleuze’s film theory.In Chapter Two,it mainly discusses Deleuze’s deconstruction of classical film theory and expounds the single dimension of traditional film aesthetics reflected in respect of the subject view,the time view and psychological cognition of audiences in which becoming-image was regarded as liner unidirectional operation between subject and object,which is a binary opposition theory for image ontology cognition.However,Deleuze re-analyzed the connotation of becoming,broke through binary thinking and reconstructed the image ontology theory by the duality of concealing and manifesting in becoming-image.The first dimension is the concealing state of becoming,where immersive film viewing is formed by establishing the organic narrative system of film through repeating daily perception and external images and internal cognition.This system corresponds to the movement-image and the second dimension is the manifesting state of becoming.As for this dimension,on the basis of differences of daily perception of images,the crystal narrative system of film is built to form generative film watching by breakage of external images and daily perception.This system is corresponding to the time-image.Starting from the duality of concealing and manifesting in becoming,this paper discusses Deleuze’s deconstruction of traditional film theory and reconstruction of unique film theory by topological becoming,expounded the nature of movement and time and modes of their presentation in images step by step and analyzed why images with becoming of pure time manifesting were "real films".Secondly,by analyzing on a series of concepts of the movement-image,this paper explains how becoming-image is concealed in the movement-image mechanism.In Chapter Three,through extension of overall movement and relations with images,it discusses the special media feature of movies and its duality of "completion,and"entirety".Based on the analysis of three basic techniques,respectively,frame,shot and montage,it discusses how subsets of image units form the overall narration and have a potential possibility of complete openness to movement at the same time.By understanding characteristics of perception,feelings and action and their relations,Deleuze carried out detailed classification of the movement-image.With six major image types and fourteen image characteristics,the operation mechanism of the movement-image furthest accords with people’s daily cognition modes,where the definite coherent overall movement reduces the possibility of opening of movement towards the extensive entirety and conceals ontic becoming.Third,by transition from the movement-image to the time-image,it accounts for how becoming-image changed from being dormant to distinct.Chapter Four analyzes Deleuze’s perspective change in his film research and states relations between images and pure time from the perspective of the becoming-image.By recollection centrum and convolution,pure time and the real movement level are connected with each other and time presents current reality by patterns of recollection layers and combinations with excursion and deformation.Permeation of pure time in the present moment changes features of images.Consequently,the new manifestation pattern of the recollection-image and dream-image surpasses the framework of the movement-image and conveys a new mode of perception.It cuts off suppression of time by movement and realizes infinite openness of time.When discussing on the time-image,there is a qualitative transition of the form of becoming-image where becoming-image is no longer hidden in narrative structure and meaning mechanism,yet highlighted in a way of free growth.Finally,through becoming of the crystal-image and its characteristics,this paper illuminates how becoming-image achieves an extremely manifesting state.In Chapter Five,it discusses the undistinguishable convolution constituted by potentiality of time and substantiality of reality in the crystal-image.As the smallest time-image convolution,it has strong and agitating tension and is the vertex of becoming.Crystal-image realized coexistence of potentiality and substantiality,forming the alteration of clearness and gloominess,seeds and environments.Besides,complexity and diversification of crystal narration allow the crystal-image to show numerous forms.So to speak,the dual nature,indiscernibility and creativity of the crystal-image are characteristics of pure time.Therefore,film realized direct presentation of time and becoming-image is developed toward infinite openness.To conclude,this paper states the duality of concealing and manifesting generated in the movement-image and the time-image and interprets their relations with thought becoming,where thought was also of the similar duality in the two kinds of images.With the concentration on the theme of becoming,Deleuze completed thinking on philosophical images,where the film art and philosophy mirror each other unprecedentedly.As a result,it surmounted the hermeneutic relation between film theory and film text. |
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