By Alain Badiou, "Le cinéma comme faux mouvement", text of the lecture by Alain Badiou in the Studio des Ursulines, Paris, November 29, 1993, published online in L'Art du Cinéma, n No. 4, March 1994.
Is it possible to venture a thought of the film from the notion of image, moving image, of what Gilles Deleuze calls the movement-image precisely? Whole point lies, I think, in holding that reality movies are the films are called operations in certain films. Just as there is poetry only to the extent that first we poems, there is no cinema than to the extent that there fillms. And a film is not the realization of categories, even materials, presupposed by it. Categories such as image, movement, painting, out of field, texture, color, text, etc. A film is a unique operative, she grasped the massive process of a configuration of art. A film is a point-topic [point-sujet] for a configuración.Este subject [sujet] as any item, be thought of as an operation subtractive input. A film works so removed, in it, first, the image is cropped. Here the movement is hampered, suspended, upside down, stopped. More essential the presence, is the cut [the découpe], not only the effect of the assembly, but now, and from the outset by the frame, and dominated the cleaning of the visible. What matters absolutely to the movies is that the flowers shown, and in such a sequence of Visconti, Mallarme are flowers, flowers that are absent in every line. I've seen these flowers, but the proper mode by which they are captive of a cut is that by which their uniqueness and idealism are given indivisiblemente.Toda paint the difference lies in this: not to see what founds the idea thought, but having seen them. Film is an art of the past perpetually, in the sense that the past is established by the pass [Pass]. Cinema Visitation is: the idea of \u200b\u200bwhat I see or hear remains as she passes. Organize the internal friction to the passage of visible Idea, this is the operation of the film, whose ability is in turn invented by artista.En operations of a film, then the movement should be thought of in three different ways . On the one hand, refers to the idea of \u200b\u200beternity paradoxical passage of a Visitation. A street in Paris, is called "the passage of the Visitation" could be called street theater. What is at stake here is the cinema as a global movement. Moreover, the movement is that, through complex operations, subtracts the image itself, making it is Impresentable even registered. It is in the movement which embody the effects of cutting [coupe], even and especially, as seen in Straub, when it does see the emptying [évidement] of the visible is the apparent arrest. Or, as in Murnau, where the progress of a tram segmental organizes the topology of the shadow of a suburb. Say we have hence the actions of local movement. And finally, the movement is impure in the total circulation of the other arts, installed in allusion contrasting idea, subtractive herself to art freed from their destinación.Es impossible, in fact, think the film was a kind general space, or grasp its connection with other Arts: Art is the seventh in a very particular sense. Not added to the other seven [*] on the same plane as them, but rather the means, is one-of-plus [plus-one] of the other six. Opera on them, from them, by a movement that eludes other mismas.Preguntémonos, for example, what to fake movement to Wim Wenders Goethe's Wilhelm Meister. The film and novel. We have to admit that the film would not exist, or rather would not have existed without the book. But what is the meaning of this condition? Or more precisely: under what conditions of the film is possible this novel condition of a film? The question is tortuous and difficult, we see clearly that two operators have been invited: you have story or narrative shadow, which has characters, or character reference. There is something in the film that film operates as an echo of, say, the character of Mignon. Freedom of novelistic prose, however, is in failing to see the bodies, bodies whose visible escapes many of the finest description. Here, the body is given by the actress, but 'actress' is a word from the theater, a word representation. And here starts the romantic film himself for a piece of theater. But it is clear that the idea of \u200b\u200bMignon film is installed just on the one hand, this tear, is fantastic novel and drama, but also in a "neither", and all the art of Wenders is to sustain its pasaje.Si now wonder what Death in Venice Visconti because Death in Venice by Thomas Mann , heme suddenly diverted towards the music: in this case the timing of the passage is given, think of the opening sequence, much less for the prosodic rhythm of Thomas Mann that the adage of Mahler's fifth symphony. Suppose that here the idea is the relationship between melancholy love the genius of the place and death. A lack of prose, and there, nothing will be said, nothing will be textual, Visconti shows the Visitation of this idea in the gap music that opens in the visible. The move removes the romance of the language, and keeps it in a shifting border between music and place. But in turn, exchange music and place their own values, so that the music is muted by pictorial allusions, while all stability is dissolved by the pictorial music. These transfers and solutions are the very thing that in the end, you have done everything actual passage of the idea.Podríamos called "poetic cinema" to link the three meanings of the word "movement" whose joint effect is ultimately visit the sensible idea. I insist that the idea is not embodied. The film belies the classical theory as that art is the sensible way to the Idea: the visitation of the sensitivity of the Idea does not give any body. The idea is not separable, there in the cinema than in its passage. The idea is visitación.Demos an example. What about false movement when the fat man finally reads his poem? If we refer to the global movement, we say that this reading is like a cut on the courses lawless, wandering around the group. The poem is installed as an idea of \u200b\u200bthe poem by a margin effect of interruption, so goes the idea that the whole poem is a breakdown of language as a mere instrument of communication. The poem is a detention [mise en arrêt] of the language about himself same. Only here, properly understood, language is not film, but the ongoing search, a kind of sullen suffocation. If we refer to the local movement, we say that the visibility of the reader, his own amazement, the show haunted by the annulment of the text itself, in the anonymity that is abysmal. Poem and poet suppress each other. The residue is a kind of surprise there, wonder of existence is perhaps the real subject of this film. If order is considered unclean motion of the arts, is that in reality, the poetic in the tear film of the poetic self in the poem of course, because what counts is just an actor, he a doping of the novel, read a poem, which is not a poem, to mount the passage of a completely different idea: that this character can not, can never, despite his misplaced desire, get close to others, form from them a stability of their being. The wonder of existence, as often happens in the first Wenders Wenders before the angels, so to speak, is at the solipsistic, something that even remotely, states that a German can not peacefully agree and join Germans, unless it can be pronounced, with all political clarity, being German as such. Thus, the junction of the three movements, the poetry of the film is passage of an idea that is not simple. In the film, as in Plato, the real ideas are mixed, and any attempt to uniqueness dismantles [defaite] to the poetic. In our example, this reading of a poem brings up, or pass, the idea of \u200b\u200ba connection of ideas: there is a link, German itself, between what is the poem, the wonder of existence, and national uncertainty. It is this idea of \u200b\u200bvisiting the sequence. And their complexity, their mixed nature, whether convened what we think, requires the binding of three movements: the global movement, by which the idea is never more than a ticket, the local movement, which it is also different from what it is, other than his image, and impure movement, which it is installed on the moving boundaries between artistic assumptions abandoned. And just as poetry is about language detention as a result of a coding device use, and also tied the poetic movements of the film are clearly global movement falsos.El movements is false, since no measure for you. The substructure technique regulates a discreet parade uniform, whose art is to ignore anything. Cutting units, such as planes and sequences, are ultimately composed, not as a time, but a principle of neighborliness, for reference, to insist upon or rupture, which is true thought topology rather than a movement. As filtered through this space in composition, present since the shooting, false motion is imposed by which the idea is not given only as a passage. Say no idea because there is a composition space, and no passage because this area is spared, or exposed, as global time. Thus, false motion, the sequence of trains and rub away is a metonymy of the entire composition space. His movement is pure exposition of a place where subjective closeness and remoteness are indistinguishable, which is in fact the idea of \u200b\u200blove in Wenders. The global movement is nothing but the elongation pseudo-narrative of this site.The local movement is false because is only the effect of removal of the image, or you could also say, himself. Neither is there original motion, movement itself. The visibility there is enforced, not being playing for something, say in passing that the film is the least imitative of the arts, it creates a temporary effect of travel, so visible that it is witnessed in some way "out image ", witnessed by thought. I think for example in the sequence of Touch of Evil, Welles, in which the fat police twilight visit to Marlene Dietrich. Local time is here only because it led to Marlene Dietrich who visit Welles, and this idea has no match with the image, which should be that of a policeman in an aging prostitute. So almost ceremonial slowness of the meeting is the fact that this image should be covered by apparently thought so, for an investment of fictional values, are Marlene Dietrich and Orson Welles those involved here, not a Police and prostitute. Thus the image tears herself to be returned to the real film. Here, besides the local motion is geared towards the movement impure, because the idea of \u200b\u200ba generation of artists who just comes to settle on the frontier of film and film and cinema as configuration, or as art, in border film himself, or even film and film as effective as a matter of pasado.Y finally impure movement is the most false of all, because in reality there is no way to produce a movement of art to another. The arts are closed in themselves. No painting is ever change in music, no dance poem. All attempts in this regard are in vain. And yet, the film is precisely the organization of these movements impossible. However, this is not even more than a subtraction. The quote alluding to the other arts, which constitutes the film, tear themselves: all that remains is just the border to be bored by the past, the idea, whose idea Visitation film and only film, permite.Así film as it exists in the films, is the false knot of three movements. This triplicity is why as a pure free passage to the mixed character, ideal impurity aferra.El us cinema is an impure art. Is art more, parasitic and variable. But his strength of contemporary art is precisely to give an idea at the time that takes a pass from the impurity of any idea.
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