Life-line.


 

A women in a modest setting, cooking on an open flame, surrounded by basic utensils.The space feels enclosed but opens out to the urban environment beyond the fence.The visual conveys a sense of everyday struggle, rooted in survival and action.
Deleuze’s cinema theory primarily distinguishes between the movement-image and the time-image.The movement-image involves classical narrative cinema, which is action-oriented and causally connected, as opposed to the more experimental,fragmented time-image.
The frame offers a visual field emphasizing both the subject (the person cooking) and their environment (the street, utensils, and fire).Here,the perception-image situates the viewer in the materiality of the scene—a close connection between the person and their immediate surroundings.
The person’s act of cooking signifies the action-image.The physical labor connects them with the broader societal conditions implied in the background (urban,possibly economically marginalized).The action is functional, grounded in necessity rather than leisure, reinforcing the dynamic between individual and environment.
The frame evokes affect, emphasizing the human condition and evoking empathy. The contrast between the individual’s act of cooking and the seemingly indifferent city beyond highlights vulnerability and resilience, which are deeply emotional.
Deleuze's "movement-image" involves sensory-motor links—how characters and actions relate to the space.Here, the closed, cluttered foreground with the openness of the street signifies confinement and marginalization.The limited movement within the frame (the person cooking) contrasts with the implied movement beyond (vehicles, pedestrians), creating a tension between stillness and mobility.
Potential Transition to Time-Image
While this frame fits primarily within the movement-image due to its rootedness in action and perception, its reflective quality could edge toward the time-image. The static composition, the mundane act of cooking, and the broader societal implications invite contemplation, hinting at a break from action into thought.

By- Ria Sarkar


Comments

Post a Comment

Popular posts from this blog

FRAME AND MOVEMENT STUDY (Referring to Gilles Deleuze)

Image
  This clip shows the camera as a human eye wondering through the area much like a POV structure. Through this video we shall discuss movement and frame, how the frame divide into subsets or parts and how it contributes or connects to the whole referring to Deleuze. In the clip we can  see the camera showing the decors and the area where an event or festival is taking  place. The scene opens up with the view of the grounds then pans up showing the decoration structures. Here I tried to showcase the beautifully dividing of the space into perfectly saturated subsets. According to the thesis of Deleuze, space can be full of saturation, means full of information or it can be  rarefaction, means the opposite. To understand this properly we can take both examples  from the video. Most of the time like the opening scene where space or frame for that  matter can be divided into subsets for instance, (00:15) here can be seen floors,  characters in the foregroun...
Read more

A Cat Named Mao - Exercise in framing in accordance with Deleuze

Image
A frame is a "closed system", comprising many parts. The sets, characters, props, lighting etc., play a very crucial role in establishing the pivotal character, or the purpose, of the frame. A frame, or the set established to construct and articulate the frame, has a great number of parts - ‘sub-sets’ or parts. They may be composed in various ways, 'Parallels & Diagonals' being a very intricate way to establish a frame to look up to. In cinema, a very important role of a frame is to provide the required information for the audience, to establish a context, individually, or in abstract, or absolute relation to the frames used in the rest of the shots that comprise the scene. Framing is an integral part of 'film linguistics', with the primary job to 'communicate' and 'inform' - it's the use of this tool that can evoke prose, or poetry on screen. These informations may be numerous or limited, and the Angle and framing are crucial to estab...
Read more

Frame, Shot, Movement, and Deleuzion

Image
 December 30, 2024 The video attached above was shot at the ropeway line in Darjeeling. The ropeway system, or machinery, is visible on the top left corner of the screen, emphasising the movement of gears and levers which form the basis for the ropeway system within the frame itself. The opening minute or so of the video refers to Gilles Deleuze’s idea of composition, where we familiarise ourselves with the different elements at play here (the ropeway car, the passengers waiting inside, the machinery of the ropeway system itself, the people waiting outside for their turn, as well as the layout of the location itself.) This shot, despite its stillness, depicts dynamism within it and creates a level  of meaning through how the different elements find themselves arranged on the frame. Deleuze’s concept of decomposition, or, a certain breaking point in a shot where the elements within a frame are rearranged or recontextualised, is evident in the video from 1:31 onwards. From...
Read more