질 들뢰즈의 『영화1: 운동-이미지』에서 운동과 전체에 대하여

Abstract

The main purpose of this paper is to study a possibility of something new of thinking in Gilles Deleuze's Cinema. Deleuze accepts the materiality of images, which Henri Bergson presents in “Matter and Memory”. Matter for Bergson is an image. Our body is also an image, and the material universe itself is defined as the totality of images to act and react reciprocally. For Deleuze the relationship between cinema and philosophy corresponds to that of image and concept. A concept is an image of thinking, which happens to us by confronting all outside thought. The camera produces cinematographic images, which are pure movement-images. Cinema produces the new through the pure movement every time. For Deleuze, movement is a mobile section and expresses something that is the change in duration or in the Whole. Deleuze defines the Whole as the Open. The frame tends toward the Whole as duration. The shot shows the pure movement, which is not subordinate to moving bodies. The pure movement in cinema frees thought. It does not express thinking through any fixed schema but by a kind of decentred thinking. Cinema shocks thought, causing it to think the Whole. Thought for Deleuze is thus always correlated with something outside thought, the unthought in thought. It is the confrontation with this unthought, which forces us to think and re-think our own thinking, bringing about a new image of thought.