TIME–IMAGE ATLASP4 THEATER · DELEUZE
中文
CONCEPT ATLAS / RELATIONS AND TESTS

From sensory-motor rupture to the image that forces thought

20 testable concepts with French originals, English keys, Chinese atlas terms, bilingual definitions, shot-level questions, and conceptual boundaries.

Reading route: sensory-motor schema → opsign/sonsign → actual/virtual → crystal → chronosign → interstice → thought · Type: cross-index · Hierarchy/chronology: none
↔Relations determine the concept

Test action relations in slowness, temporal structure in flashback, and actual/virtual exchange in mirror compositions.

CONCEPT ↔ TERM ↔ CORPUS

Concepts test relations; the glossary explains translation; the corpus index returns to specific Chinese pages

Terms & editionsOpen Chinese corpusCheck formal sources
AOPSIGN / SONSIGNoptical/sound leave action
BHYALOSIGNactual ↔ virtual
CCHRONOSIGN / GENESIGNbranches of order and series
DNOOSIGNimage forces thought
ELECTOSIGNimage must be read
ATLAS CROSS-INDEX

Five parallel entries connect the surpassed position of mnemosign/onirosign, the tactisign branch, and the order/series division of the time-sign.

Open the conclusion sign constellation
A
INTERPRETIVE MODEL / DAVID DEAMER

Three syntheses × nine signs

David Deamer’s structural reconstruction, presented as a testable secondary hypothesis.

PASTPRESENTFUTURE
First passive synthesis: habithyalosign
Past of the present / retentionLimpid and opaque
Living presentMutual mirrors
Future of the present / expectationSeed and environment
Second passive synthesis: memorychronosign
Pure pastSheets of the past
Present of the past / destinyPeaks of the present
Future of the past / reminiscencePowers of the false
Third passive synthesis: caesuranoosign
Past of the future / experienceBody of attitude
Present of the future / metamorphosisBody of gestus
Empty futureBrain
Read Deamer’s peer-reviewed article
SHOT → TEST → SOURCE → CROSS-LINK

Six chains of conceptual argument

Each chain moves from filmic facts to a theoretical test, then returns to primary pages, term variants, films, scenes, scholars, and research resources.

6
chains
19
film gates
7
exact scenes
12
sources
01 · TEXT / SHOT

When action loses its sequel, seeing gains time

Sensory-motor rupture occurs when perception no longer extends naturally into an action adequate to the situation. The agent becomes a seer, and images and sounds that action cannot exhaust bring time to the foreground.

Open concept dossier
ATLAS SCENE ANALYSIS

Journey to ItalyOpen scene

At Pompeii the archaeological operation succeeds precisely and two bodies emerge from the dark soil; Katherine can only say that she cannot bear it and leave. Technical action succeeds while personal action loses reparative force.

ATLAS TEST

Shot-analysis operation

Record what the character sees, what action follows, and whether that action changes the situation. The break among these three elements is the criterion.

ATLAS COMPARISON

Germany Year Zero

In Germany Year Zero, walking, trading, poisoning, and climbing continue; these actions leave family relations unrepaired and the future closed.

Deleuze primary text · Cinema 2, ch. 1, Minnesota 1989 translation, pp. 2–5

CONCEPTS

TERMS

FILMS

SCENES

SOURCES

SCHOLARS

02 · TEXT / SHOT

Actual and virtual exchange within one image

The crystal-image compresses an actual image and its own virtual image into a minimal circuit. The two sides remain distinct while continually exchanging positions, making time's split visible.

Open concept dossier
DELEUZE PRIMARY TEXT

The Lady from Shanghai

The hall of mirrors in The Lady from Shanghai multiplies bodies, reflections, doubles, and deception; gunfire shatters the mirrors and collapses the proliferating circuit. Both exchange and termination are visible in the image.

ATLAS TEST

Shot-analysis operation

Identify the actual and virtual sides, then track when they exchange, become indiscernible, and separate again. The mirror is the material carrier of the relation.

ATLAS COMPARISON

Late Spring

The vase in Late Spring places smile, pause, and tears within an unchanging form of time. It offers a comparative route to direct time through duration rather than mirrored actual/virtual exchange.

Deleuze primary text · Cinema 2, ch. 4, Minnesota 1989 translation, pp. 73, 76, 78, 86–87

CONCEPTS

TERMS

FILMS

SOURCES

SCHOLARS

03 · TEXT / SHOT

The past coexists in sheets; the present forks into peaks

The order of time has two forms: the past is preserved in coexisting sheets, while the present persists in incompatible peaks. Search, testimony, repetition, and divergent versions make both structures visible.

Open concept dossier
DELEUZE PRIMARY TEXT

Last Year at Marienbad

The same encounter is stated as having happened, never having happened, and happening for the first time. Resnais places the figures in coexisting sheets of the past, while Robbe-Grillet organizes incompatible peaks of the present.

ATLAS TEST

Shot-analysis operation

Mark each version's temporal position, mode of evidence, and actionable consequence. Sheets ask which past is being searched; peaks ask which presents persist together.

PRIMARY COMPARISON

Citizen Kane

The witnesses in Citizen Kane enter different sheets of Kane's past. Each sheet supplies real material, yet none can totalize a life.

Deleuze primary text · Cinema 2, ch. 5, Minnesota 1989 translation, pp. 105–130

CONCEPTS

TERMS

FILMS

SOURCES

SCHOLARS

04 · TEXT / SHOT

The tribunal enters the chain of falsifiers

The powers of the false shift narration from judging truth to producing becoming. Expert, witness, forger, and author successively lose final authority as each telling changes characters, world, and the conditions of the next telling.

Open concept dossier
DELEUZE PRIMARY TEXT

F for Fake

F for Fake lets artist, authenticator, forger, and filmmaker alternately establish and undo one another's authority. The film joins the chain and turns the right to judge truth into a variable relation.

ATLAS TEST

Shot-analysis operation

Record who proposes each version, who authenticates it, and how the next version changes the previous one's status. Authority must move through a series for narration to enter the falsifier chain.

ATLAS COMPARISON

Citizen Kane

Citizen Kane's testimonies still circle a life left untotalized; F for Fake goes further by making authentication, authorship, and the film itself members of the falsifying series.

Deleuze primary text · Cinema 2, ch. 6, Minnesota 1989 translation, pp. 137–150; F for Fake at p. 150

CONCEPTS

TERMS

FILMS

SOURCES

SCHOLARS

05 · TEXT / SHOT

Sound and image reach their limits and become readable

The irrational cut releases autonomous sound and visual series. The lectosign requires the viewer to read strata, absences, and distant connections after each series has fully unfolded on its own.

Open concept dossier
DELEUZE PRIMARY TEXT

India Song

In India Song, voices detach from visible bodies while empty rooms, bodily attitudes, and an absent event form a visual series. Sound preserves another relational history and the two series meet at the edge of absence.

ATLAS TEST

Shot-analysis operation

List separately what sound and image provide, then locate their cuts, delays, and points of contact. Readability arises from structural relations.

ATLAS COMPARISON

Tropical Malady

The blackout, tiger intertitle, and new forest sound layer in Tropical Malady provide an atlas comparison: the second movement resets the rules of seeing and listening through a cut.

Deleuze primary text · Cinema 2, ch. 9, Minnesota 1989 translation, pp. 251–265; conclusion pp. 278–279

CONCEPTS

TERMS

FILMS

SCENES

SOURCES

SCHOLARS

06 · TEXT / SHOT

Speech organizes action and prefigures a people to come

Fabulation organizes memory, filming, labour, and delegated speech into collective becoming. Collective utterance changes roles, resources, and speaking positions, giving a people to come a form within action.

Open concept dossier
ATLAS SCENE ANALYSIS

Pour la suite du mondeOpen scene

The islanders first speak a long-interrupted beluga hunt into a shared project, then raise funds, set posts, and publicly delegate one person to speak for the group. Speech changes participants, resources, and representation.

ATLAS TEST

Shot-analysis operation

Track an utterance's speaker, addressee, path of circulation, and visible consequences. Speech acquires efficacy when roles, resources, labour, or representation change.

PRIMARY COMPARISON

A Ridiculous Kind of Country

A Ridiculous Kind of Country lets people in different positions continue questioning Québec belonging; disagreement and relay keep a collective problem open.

Deleuze primary text · Cinema 2, ch. 6, pp. 150–153; ch. 8, pp. 217–224 (Minnesota 1989)

CONCEPTS

TERMS

FILMS

SCENES

SOURCES

SCHOLARS

C
SEARCH / FILTER / CROSS-READ

Concept lexicon

Search French, English, Chinese, or definitions; expand each entry for shot-level tests, conceptual boundaries, and sources.

20 concepts

00
Methodological baseline

Movement-image

image-mouvementmovement-image

Movement organizes the image through a sensory-motor chain: perception leads to affection, affection to action, and action transforms a situation. Time appears primarily through movement and montage.

View term, variants & editions
Analysis, boundary & source
Test

What does the character perceive, and does it become an executable action?

Boundary

Historical scope: the movement-image persists alongside the time-image.

Source

Cinema 1; Cinema 2, ch. 1–2

01
Rupture & threshold

Sensory-motor schema

schème sensori-moteursensory-motor schema

The body-world structure that links perception, affection, and action into an effective circuit. Its crisis begins when perception fails to lead naturally to an action capable of resolving the situation.

View term, variants & editions 7 scene records Argument chain 01 Full dossier
Analysis, boundary & source
Test

Can action still repair the situation, or does it expose its own impotence?

Boundary

Criterion: silence, waiting, or slowness must reveal a break between perception and effective action.

Source

Cinema 2, ch. 1

02
Rupture & threshold

Pure optical / sound situation

opsigne / sonsigneopsign / sonsign

Sound and image acquire autonomous density beyond cues for action or narration. The character becomes a seer or witness, reaching a threshold condition of the time-image.

View term, variants & editions 15 scene records Argument chain 01 Full dossier Argument chain 05 Full dossier
Analysis, boundary & source
Test

Can action use up this sound or image? What does the remainder compel us to notice?

Boundary

Scope: opsigns and sonsigns form the threshold of the time-image.

Source

Cinema 2, ch. 1–2

03
Rupture & threshold

The seer

voyantseer / voyant

The agent loses mastery over the situation and sees what habitual action concealed. The seer is a body struck by something too strong, too beautiful, terrible, or intolerable.

View term, variants & editions 9 scene records Argument chain 01 Full dossier
Analysis, boundary & source
Test

Does the character’s inability to act produce a more powerful seeing?

Boundary

Criterion: suspended agency must produce intensified perception.

Source

Cinema 2, ch. 1

04
Rupture & threshold

Any-space-whatever

espace quelconqueany-space-whatever

A space stripped of stable coordinates, total continuity, and practical use: ruins, empty lots, fractured streets, waiting rooms, or virtual spaces built from light, colour, and fragments. Relations can be recomposed within it.

View term, variants & editions 4 scene records
Analysis, boundary & source
Test

Does the space contain action, or dissolve the coordinates action requires?

Boundary

Criterion: spatial relations become despecified; empty shots and ruins are possible forms.

Source

Cinema 1, ch. 7; Cinema 2, ch. 1

05
Crystal & virtuality

Actual / virtual

actuel / virtuelactual / virtual

The actual is what has been actualized; the virtual consists of differential relations, memories, and tendencies that remain fully real and operative before actualization. They are two states of the real, distinct from possible/real and true/false.

View term, variants & editions Argument chain 02 Full dossier
Analysis, boundary & source
Test

Which absent yet operative pasts, relations, or tendencies does the present image open?

Boundary

Term scope: virtual names fully real relations and tendencies prior to actualization.

Source

Cinema 2, ch. 4; Bergson, Matter and Memory

06
Crystal & virtuality

Crystal-image

image-cristal / hyalosignecrystal-image / hyalosign

An actual image and its virtual image form the smallest circuit: two faces differentiate, pursue, and exchange with one another until they become indiscernible while remaining distinct. The circuit lets us see the present split into an actual present and a coexisting virtual past.

View term, variants & editions Argument chain 02 Full dossier
Analysis, boundary & source
Test

Does the reflection, performance, memory, or copy genuinely transform the supposedly original side?

Boundary

Criterion: reciprocal exchange between actual and virtual. Scope: the crystal-image provides a condition for grasping the direct time-image.

Source

Cinema 2, ch. 4

07
Crystal & virtuality

Limpid and opaque

limpide et opaquelimpid and opaque

As one face of the crystal becomes a clear actual image, the other recedes into opaque virtuality; then the two exchange. Their relation produces visibility.

Argument chain 02 Full dossier
Analysis, boundary & source
Test

Which face is momentarily clear, how does it darken the other, and where do they reverse?

Boundary

Criterion: limpid and opaque exchange with the actual and virtual.

Source

Cinema 2, ch. 4; Deamer, 2016

08
Crystal & virtuality

Seed and environment

germe et milieuseed and environment

A seed triggers crystallization within an as-yet amorphous environment, while that environment must itself possess a virtual crystalline structure. Seed and milieu reciprocally individuate one another, making the crystal a world in formation.

Argument chain 02 Full dossier
Analysis, boundary & source
Test

What world is a local form crystallizing, and how does that world act back upon it?

Boundary

Criterion: local form and environment reciprocally individuate one another.

Source

Cinema 2, ch. 4; Deamer, 2016

09
Direct time & narration

Sheets of the past

nappes de passésheets of the past

The past consists of coexisting planes at different degrees of contraction. Recollection selects a sheet from the whole past.

View term, variants & editions Argument chain 03 Full dossier
Analysis, boundary & source
Test

Does the film sequence past events, or move among coexisting layers of the past?

Boundary

Scope: a flashback that supplies causal information remains within the movement-image.

Source

Cinema 2, ch. 5; Bergson, Matter and Memory

10
Direct time & narration

Peaks of the present

pointes de présentpeaks / points of the present

Several presents each hold, yet are incompossible with one another. The image releases them from a single continuous and decidable present.

View term, variants & editions Argument chain 03 Full dossier
Analysis, boundary & source
Test

Are these presents successive, or individually real and mutually incompossible?

Boundary

Criterion: multiple presents are each real and mutually incompossible.

Source

Cinema 2, ch. 5

11
Direct time & narration

Chronosign

chronosignechronosign

Temporal relations themselves become signs: sheets of past, peaks of present, and series of time cease to be governed by continuity of action. This is the narrative dimension of the direct time-image.

View term, variants & editions Argument chain 03 Full dossier
Analysis, boundary & source
Test

If the action-goal is removed, what temporal relation still connects the images?

Boundary

Criterion: temporal relations directly organize the connections among images.

Source

Cinema 2, ch. 5–6

12
Thought, body & reading

Irrational cut / interstice

coupure irrationnelle / intersticeirrational cut / interstice

Deducible continuity among shots, sounds, and images gives way to an irreducible interval between series. Thought is forced to happen within it.

View term, variants & editions 1 scene records Argument chain 05 Full dossier
Analysis, boundary & source
Test

Does this cut conceal an ellipsis, or produce an irreducible relation?

Boundary

Criterion: technical discontinuity must produce an irreducible relation.

Source

Cinema 2, ch. 7–9

13
Direct time & narration

Powers of the false

puissances du fauxpowers of the false

Narration abandons a recoverable model of truth and lets characters, testimonies, memories, and worlds mutate through a series of falsifiers. The false gains creative power by freeing itself from a model of truth.

View term, variants & editions Argument chain 04 Full dossier
Analysis, boundary & source
Test

Does the film expose a lie to restore truth, or alter the rules by which truth and falsity are produced?

Boundary

Scope: powers of the false transform the production and creative force of truth and falsity.

Source

Cinema 2, ch. 6; Cinema seminar 1983–84

14
Direct time & narration

Falsifying narration

narration falsifiantefalsifying narration

Characters and narrative positions escape calibration by an omniscient centre. Each falsifier refers to another, while identity and past mutate according to degrees of power.

View term, variants & editions Argument chain 04 Full dossier
Analysis, boundary & source
Test

Who can adjudicate among versions, and is that position itself drawn into the series of falsifiers?

Boundary

A twist ending may still serve a final truth.

Source

Cinema 2, ch. 6

15
Thought, body & reading

Noosign

noosignenoosign

Bodies, attitudes, ceremonies, audio-visual disjunctions, and brain-like mise-en-scène undo habitual images of thought and force thinking.

View term, variants & editions
Analysis, boundary & source
Test

Is thought explained in dialogue, or forced by an image-relation that resists immediate comprehension?

Boundary

Criterion: image-relations undo habitual images of thought and force thinking.

Source

Cinema 2, ch. 7–8

16
Thought, body & reading

Body / brain

corps / cerveaubody / brain

Everyday attitudes and gestus sediment time in the body; cinema of the brain turns space, light, colour, and connection into a map of thought. Body and brain form two distinct cinematic mechanisms of thought.

3 scene records
Analysis, boundary & source
Test

How is time embodied through fatigue, waiting, ceremony, or spatial connection?

Boundary

Term scope: “the brain is the screen” names the map of thought generated by cinematic connections.

Source

Cinema 2, ch. 8

17
Thought, body & reading

Lectosign

lectosignelectosign

The time-image tends toward an image that must be read: picture, sound, text, data, and invisible relations form strata. Viewing becomes an ongoing work of comparison, recomposition, and concept formation.

View term, variants & editions 1 scene records Argument chain 05 Full dossier
Analysis, boundary & source
Test

Beyond showing objects, which invisible relations does the image ask you to read?

Boundary

Criterion: viewing must recompose image, sound, text, data, and invisible relations.

Source

Cinema 2, ch. 9

18
Thought, body & reading

Fabulation

fabulationfabulation

Characters and filmmakers jointly remake reality through narration, performance, and re-enactment. Story no longer serves a prior truth; it creates a speaking position for a collective still in formation.

View term, variants & editions 10 scene records Argument chain 06 Full dossier
Analysis, boundary & source
Test

Does narration change the actual relation among speaker, filmmaker, and collective?

Boundary

Criterion: fabulation produces subject and collective positions through narration and leaves observable relational changes.

Source

Cinema 2, ch. 6; ch. 8

19
Thought, body & reading

Speech act and a people to come

acte de parole / peuple à venirspeech act / people to come

The storytelling speech-act crosses private affairs and politics, produces collective utterances, and prefigures the people who are missing.

View term, variants & editions 10 scene records Argument chain 06 Full dossier
Analysis, boundary & source
Test

Who speaks, to whom, through which path, and which conditions, responses, and consequences does the image show?

Boundary

Criterion: speech and image produce new collective utterances while retaining the gap of a people not yet formed.

Source

Cinema 2, ch. 8