Deleuze’s Understanding of the World, Cinematic Notions of Framing, Shot, and Montage

Deleuze's Cinema
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Deleuze's Cinema
Section A
Sensory-motor schema
The achievement of Cinema books in visual and performing arts is undoubtedly significant. First, they offer a different way of understanding films. Cinema books postulate an alternative mechanism other than the usual work of art. According to Deleuze, films represent something. However, they can also create temporarities and own fluid movements. Deleuze further suggests that although the movements are associated with rhythm and duration, it is impossible to narrow them down to specific images. Alternatively stated, Deleuze contends that temporarity cannot be associated directly with a particular image shooting technique, a particular set of images, or a specific editing form.
In classical Holywood cinema, the narrative or rationality of the script dictates how time proceeds. This temporarity, according to Deleuze, depends on the sensory-motor schema. The concept means that linear causality or the flow of actions in the narrative determines all movements in the film (Deleuze, 1986). Thus, the current actions determine how characters behave or act. One may ask what happens during a flashback. However, drawing from the concept of temporarity, it can be argued that disruptions can occur to project unique circumstances such as a flashback. Such development involves integrating the present, past, and future to create temporal continuity (Marrati, 2005). Therefore, besides the narrative, temporal continuity also depends on other aspects such as the framing, continuous juxtapositions, and reasonableness of progressions.
Notably, sensory-motor schema determines how time and the image relate. Ordinarily, one would be expected to interpret the logical progressions in a film in isolation. However, that is not the case in Deleuze's perspective of sensory-motor schema. To him, the focus on the experience of the specific image follows the logical progression of the images. Deleuze's postulation of the sensory-motor schema considers six basic movement images. Indeed, the six steps are the simplest way to understand the concept. However, various aspects must be taken into account for this argument to hold. For instance, all six steps must be taken to be taking place concurrently. The six steps should also not happen in a pre-determined order.
For instance, one cannot purport that a perception image follows an action image or affection image. This is due to the immediacy of affection images which co-occur with perception images. Besides, perception images envelop all the other five images. Deleuze contends that the images cannot be thought of separately. In his view, they overlap and relate with one another. Therefore, even if one attempts to perceive a single perception of an image separately, the multiple images occur concurrently. Towards this end, it can be argued that sensory-motor schema results in this phenomenon. Through it, the interval gap of the images is eliminated, providing a link between the action and the relation (Marrati, 2005). In other words, the sensory-motor schema mediates between the initially perceived images and the appropriate action by using the human mind...