@article{ART001646835,
author={김형래},
title={들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로},
journal={문학과 영상},
issn={1229-9847},
year={2012},
volume={13},
number={1},
pages={7-34}
}

TY - JOUR
AU - 김형래
TI - 들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로
T2 - 문학과 영상
JO - 문학과 영상
PY - 2012
VL - 13
IS - 1
PB - 문학과영상학회
SP - 7
EP - 34
SN - 1229-9847
AB - This essay deals with Deleuze’s Cinema 1, specially the first section ‘First thesis: movement and instant’ of the first chapter. It discusses about four key points: ‘immobile sections + abstract time’, ‘real movement → concrete duration’, ‘the relation of Bergson and cinema’, and ‘the difference of the perception in the phenomenology and the Bergsonian movement-image’. According to the ancient thought (Zeno’s paradoxes), we cannot reconstitute movement with positions in space and instants in time. Contrary to this idea, Bersong proposes a new idea of the duration (durée) to produce real movement. The real movement can be possible only through the concrete duration and mobile sections, instead of immobile sections constituted of positions and instants. But he claims that the natural perception and cinema are the same in that they reconstitute movement with immobile sections. That is, cinema produces only the illusion of movement. However, Deleuze insists that cinema produces movement-image, not reproducing the illusion of movement. To understand his claim, we must know what the image is for Bergson and Deleuze, and how the image is movement. Bergson conceives the notion of image in order to overcome the traditional realism and idealism and the dualism of the mind and the material. For Bergson, “the material is the whole of images”, of which the universe are constituted. Like the light, the images spread out to the other images and act and react each other. That is, the image is movement. And then, the individual body and brain are also images, but they are the privileged images, because, for example, the brain images are filtering and controlling the other images. This makes the limit of the perception. However, in comparison with the natural perception, the cinematic perception has no limit and can perceive even the things which the natural perception cannot do. Therefore, according to Deleuze, the cinematic perception has been prior to the natural perception, as the cinema develops. Of course, we can ask a question: if it makes a sense that we differentiate essentially the cinematic perception from the natural perception, why are these two merely images? At another opportunity it could be answered to this question.
KW - Deleuze’s Cinema 1, thesis on movement, Bergson, duration, movement- image
DO -
UR -
ER -

김형래. 2012, "들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로", 문학과 영상, vol.13, no.1 pp.7-34.

김형래 "들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로" 문학과 영상 13.1 pp.7-34 (2012) : 7.

김형래. 들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로. 2012; 13(1), 7-34.

김형래. "들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로" 문학과 영상 13, no.1 (2012) : 7-34.

김형래. 들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로. 문학과 영상, 13(1), 7-34.

김형래. 들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로. 문학과 영상. 2012; 13(1) 7-34.

김형래. 들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로. 2012; 13(1), 7-34.

김형래. "들뢰즈의 『시네마 1: 운동-이미지』에 나타난 ‘운동’에 관한 논제—운동에 관한 베르그손의 첫 번째 논제를 중심으로" 문학과 영상 13, no.1 (2012) : 7-34.