Every Chinese term maps to a defined French concept

The cinema books follow Bergson’s starting point: matter is the aggregate of images, prior to the split between object and copy.

The movement-image names how movement and sensory-motor linkage organize images; it is a structural category rather than a period label.

The criterion is how temporal relations organize movement, editing, sound, and image; slow motion, long takes, waiting, flashbacks, and temporal themes are possible materials.

Direct names time’s organizing role across several forms beyond the crystal, including edited, real-time, and moving images.

The perception-image concerns how selection, centres, and viewpoints emerge within the universe of images; the subjective shot is one possible form.

In the affection-image, faces, close-ups, or any-space-whatever carry power-quality. Expression is possible material; the conceptual relation exceeds psychological information.

The action-image depends on action carrying a situation toward a resolvable new situation; bodily movement is material within that structure.

The schema enters crisis when seeing and hearing lose their natural extension into adequate action, even while bodies continue to move.

Pure means that an optical or auditory situation exceeds its extension into action and acquires relations of its own; it describes function, not formal purity.

The opsign marks a pure optical situation; classifying a film still depends on its full set of image-relations, with composition as formal material.

Voice-over, noise, or silence becomes a sonsign only when it ceases to function merely as a cue for action and acquires relations of its own.

The tactisign is a local extension in Cinema 2 chapter 1; the conclusion section’s recapitulation begins with opsign and sonsign.

The seer’s incapacity for action becomes intensified perception or witnessing; staring and observation are surface gestures.

Any-space-whatever loses the stable coordinates and total continuity required by action; ruins, empty shots, and abstract sets can carry this despecification.

Actual and virtual both belong to the real and remain related through actualization and virtualization.

The virtual is a fully real field of differential relations capable of actualization, distinct from falsity and preformed possibility.

Here réel names the real encompassing actual and virtual; Lacan’s Real, documentary fact, and objective truth belong to other conceptual levels.

A possible is preformed and awaits realization; the virtual creates difference and form through actualization.

Actualization differentiates virtual relations and creates form while resolving a problem.

Duration is qualitative change whose moments interpenetrate and resist lossless division into homogeneous units; speed, length, and subjective feeling are separate measures.

The pure past is the ontological condition for the actualization of memory; personal archives, collective unconscious, and flashbacks are specific representations.

A recollection-image can continue to serve sensory-motor narration; a flashback that fills a causal gap belongs to this indirect presentation.

The conclusion places the mnemosign within an indirect presentation that is subsequently surpassed; flashback and recollection mark an enlarged circuit.

Through relaxed perception and enlarged circuits, the onirosign forms an indirect presentation of time; the circuit structure supplies the criterion.

The crystal forms a minimal circuit between actual and virtual facets that exchange while remaining distinct; mirrors, reflections, dreams, and plays-within-plays can make this relation visible.

Hyalosigne is a technical term in Deleuze’s cinematic taxonomy for the actual–virtual crystalline relation.

A zone of indiscernibility keeps actual/virtual and limpid/opaque differentiated while their positions exchange.

Sheets of past name the coexistence of the whole past at different degrees of contraction; recollection selects and actualizes one sheet.

Peaks of the present release several individually valid, mutually incompossible presents from one continuous present.

The conclusion distinguishes temporal order (sheets/peaks) from temporal series (genesign) as branches of time-signs; clocks, date captions, and temporal themes are representational materials.

Genesign names the second kind of time-sign, temporal series; it stands alongside temporal order and has a narrower sense than becoming in general.

The irrational cut makes adjacent series non-deducible through perception, causality, or totalization; jump cuts, black frames, and discontinuity can carry this relation.

The interstice is a positive relation between two series through which the work remains open and refuses organic totality.

Audiovisual disjunction requires autonomous sound and visual series that cannot be reunited in one visible event; asynchrony, voice-over, and displaced sound are possible means.

The powers of the false transform the production of truth and falsity while preserving responsibility to facts; unreliable narration and fabrication are narrative means.

Falsifying narration begins when the position of adjudication enters the series of metamorphosis; twists, lying characters, and multiple viewpoints can still preserve a final truth.

The image of thought is thought’s presupposed model of its own operation; the cinema-seminar image-pensée / 思想—影像 is related but distinct.

The noosign forces thought through image-relations, bodies, or gaps; dialogue, plotting, and character intelligence are available materials.

The lectosign makes readability transform relations among images and the act of viewing; subtitles, pages, and data are possible carriers.

Affect expresses changes in capacity through bodies, situations, and relations; intense emotion is one possible representation.

Percepts and affects form a bloc of sensation capable of standing on its own, beyond perceived objects and private impressions.

Difference is a genetic relation producing objects, identities, and series; distinctions between ready-made objects are its results.

Deleuzian repetition changes conditions, intensities, or differential relations with each return; recurrence of the identical is its surface.

A multiplicity changes in dimension and nature with its relations and divisions, distinguishing it from a collection of individuals or qualities.

A singularity is an impersonal event-point where a field changes direction, converges, or forks; personalities, figures, and spectacles are concrete expressions.

Transcendental names conditions immanent to the genesis of real experience, recasting the relation between empiricism and Kantian transcendental philosophy.

Immanence composes a field through its own relations, with the outside generated within them; no transcendent subject, value, or truth governs it in advance.

Assemblage analysis specifies connections, expressive and material faces, and their products, focusing on the joint operation of heterogeneous elements.

Rhizome is defined by heterogeneous connection, multiplicity, asignifying rupture, mapping, and opposition to tracing; the internet, nonlinearity, and decentralization are possible cases.

Becoming is an asymmetrical process in which terms change through proximity, distinct from imitation, identification, evolution, and a fixed endpoint.

A territory may be spatial, rhythmic, role-based, or institutional; the value of territorialization and deterritorialization depends on specific relations and effects.

Deterritorialization occurs at specific speeds and thresholds, with risks of reterritorialization; the value of transgression, mobility, innovation, and resistance follows from their relations and effects.

Reterritorialization forms order at new positions and scales and may also operate through innovation or rebellion.

The body without organs is an experiment with imposed organization; Deleuze and Guattari explicitly identify the risks of emptiness, cancerous formation, and death.

Desiring-production begins analysis from connections, flows, and breaks while retaining the realities of lack, suffering, prohibition, and responsibility.

A line of flight may create new connections or lead to self-destruction, fascist capture, or rapid reterritorialization; its direction follows from the concrete process.

A refrain establishes a centre from chaos, organizes a territory, and carries it toward the cosmos or a line of flight; melody and motif become its musical forms through these territorial functions.

Fabulation creates a people yet to come through collective enunciation; documentary practice also retains informed consent, intact testimony, and transparent editing.

Belief in the world arises after action schemata break and the world becomes intolerable, directing practice toward renewed connection.

Criterion: track speaker, addressee, path of circulation, altered interaction, and the conditions and consequences made visible.

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