Testing formula of the cinematic illusion
Deleuze’s The Movement Image is sitting on a strange mount in the middle of the stage, before the film screen, numbly facing the audience. Once it squeezed under philosophers’ arms, imprinted its great ideas into the minds of film enthusiasts, fed its hermetic theories to the masses of film scientists and other scholars. Its name spilled across the lists of references below countless texts, from distinguished essays to theses and ambitious student papers. And now it dwindles in the dark of a screening room, scruffy and wrinkled like an alcoholic in rehab, exposed to the public view, but nevertheless too far to communicate anything.