Responses on Deleuze Books about Cinemas and Jean Rouch's Film "Moi Un Noir"

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Part 5
Deleuze defines crystal-image as a shot that combines the pastness of the recorded event with the presentness of its viewing. The crystal image is the inseparable union between virtual and actual images (Gilles). The virtual image is subjective, recollected, and in the past.
Deleuze distinguishes between two types of action images: large and small. Actions modify an original circumstance in realism, which “created the global victory of American cinema” (39). SAS stands for Large Form (Peirce’s Theory of Signs: Video). There are holes in the system that needs to be plugged. The Documentary film, the Psycho-social film, Film Noir, the Western, and the historical film are the key genres of this image. According to Deleuze, the Actors Studio and its approach are responsible for the vast shape. ASA stands for “Small Form.” The activities create the scenario. Chaplin’s and Buster Keaton’s films play with the audience’s expectations of what they see on screen. The SAS and ASA can be seen as an ongoing progression during the movie.
Part 6
Deleuze illustrates the aspects and manifestation of the crisis of action image in the works of postwar American directors such as Lumet, Casavettes, Scorses, and Altman. The aspects responsible for the crisis of crystal image are various. Deleuze mentions the following: the soaring and wavering instability American dream, the second world war and its ramifications, the emergence of modern forms of literacy narratives, and the saturation of private and public life with images. The aspects responsible for the breakdown of action images are various. Deleuze mentions the following: The Second World War and its consequences, the increasing instability of the American Dream, the rising consciousness of minorities, the saturation of public and private life with images, and the influence of modernist forms of literary narrative. The manifestations of the crisis of crystal image included:
* The corporate or criminal plan condemnation makes images and clichés circulate (Network, Prince of City and Anderson Tapes by Lumet, and Nashville by Altman.
* The denunciation of a corporate or criminal scheme that circulates images and clichés (Network, Prince of City and Anderson Tapes by Lumet, and Nashville by Altman
* Use of clichés to connect the disparate elements of the film set (King of Comedy by Scorsese and Nashville by Altman)
* The substitution of tight sensory motors with meandering strolls, journeys, and voyages. (Easy Ride by Hopper)
* Intentionally weak sensory-motor connections between action and circumstance (Casavettes’s The Killing of Chinese Bookie)
* A dispersed rather than a unified situation. Take, for example, the fragmented conversations in Altman’s Nashville
However, the French New Wave and Italian Neo-Realism are the first postwar European cinematic movements to establish the five characteristics of the new cinematic image in total independence from Classical Realism
Son-signs and Op-signs are nothing more than acoustic conditions and pure optical, respectively. After a...