The movement - Image study (Referring to Gilles Deleuze)


The selected frame presents a foggy landscape dominated by muted colors, sparse vegetation, and scattered human-made structures. The horizon is veiled in mist, creating a sense of spatial disorientation. Power lines and utility poles cut horizontally across the composition, while a solitary pile of earth and minimal human activity punctuate the scene. Finally, we see the final crossing between the wooden structures and above, the moments before the two birds head out to find their daily food. The environment, seemingly static and devoid of overt action, invites the viewer to pause and contemplate its subdued atmosphere.

In Deleuze's framework, the perception-image constitutes the viewer's initial interaction with the cinematic frame. This frame emphasizes a detached perspective, where the surrounding environment assumes prominence over individual characters or events. The misty, desaturated setting evokes a sense of distance, both physical and emotional. The viewer's gaze is drawn to the tension between the natural and artificial elements—the organic vegetation juxtaposed against the rigid power lines and structures. This tension suggests latent potential for movement and action, aligning with the movement-image's role in establishing a world that precedes and anticipates change.

While the frame appears static, it is imbued with subtle indicators of action. The leaning poles and uneven terrain suggest prior human intervention and ongoing interaction between the environment and its inhabitants. These traces of activity point to the movement-image's foundational principle: the linkage of perception to action. In this frame, action is implied rather than directly represented, fostering an anticipation of narrative progression. The absence of explicit motion paradoxically heightens the viewer's awareness of potentiality, creating a charged stillness that resonates with the movement-image's dynamic structure.

The foggy atmosphere and muted palette evoke an affective response, grounding the frame within Deleuze's concept of the affection-image. This intermediary phase between perception and action emphasizes the emotional and sensory dimensions of the cinematic experience. The melancholic tone of the frame, reinforced by its sparse composition and subdued lighting, elicits feelings of isolation and introspection. The affection-image operates here as a bridge, connecting the viewer's perceptual engagement with the latent actions suggested by the frame's visual elements.

Deleuze's movement-image is not merely a representation of physical motion but a holistic system that integrates perception, affection, and action into a coherent cinematic flow. This frame referring the movement-image through its layered visual and affective cues. The sparse, foggy landscape serves as a canvas upon which traces of human intervention and natural forces converge, suggesting an interplay of past, present, and future actions. The frame's stillness is deceptive, as it embodies a potential energy that aligns with the movement-image's essence—the perpetual unfolding of time and space through motion and change.

In Deleuze's philosophy, the movement-image represents a cinema of continuity, causality, and sensory-motor engagement. This single frame, though static in appearance, encapsulates the dynamic interplay of perception, affection, and action that defines the movement-image. By inviting the viewer to contemplate its layered visual elements and latent narrative potential, the frame exemplifies the power of cinema to evoke a world in motion, even within the confines of a single, seemingly still moment. Through this lens, the frame transcends its immediate visual context, becoming a site of philosophical reflection on the nature of movement, time, and human experience.

Name – Joydeep Paul (09)

Date- 27-12-2024


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