Introduction
To analyse Apples and Oranges through Gilles Deleuze's concepts of movement-image and time-image, along with his broader taxonomy of cinema, requires a deep engagement with the Augmented Treatment's structure, aesthetics, and narrative elements.
Understanding the Movement-Image in this context
Movement-images, (prevalent in ACTs I and II) are typical of classical cinema, where narrative continuity and action are emphasised. There movement-images are characterised by sensory-motor links between characters such as Henri, Lucas, Ricciardone, etc, and their situations, leading to a direct response and action within a defined space and time.
Introduced in post-World War II cinema, time-images are more about the direct presentation of time itself, rather than movement. In Apples and Oranges they often feature ambiguous narratives, non-linear timelines, and a focus on memory, thought, and pure optical and sound situations without immediate sensory-motor reaction. These are prevalent in ACTs III and IV
In Addition to movement-image and time-image, Deleuze identifies different types of signs and images, such as perception-image, affection-image, and action-image, among others. I have dliberately embedded these in certain frame, shot, montages, or on reflection identified them as a result on analysing the creation of the storiy documents, retrospectively. That is to say, I unconsciously embedded them whilst writing the narrative or making creative choices with sound, image, or video, and later identified them as being well defined by Deleuse's taxonomy.
The Key Sequences
There are sequences that align with the characteristics of the movement-image, such as linear narratives, clear character goals, and actions within a definable space-time continuum.
There are also moments in Apples and Oranges that embody the time-image, such as scenes that focus on the experience of time, memory, or dreams, and those that disrupt traditional narrative flow.
Analysis Using Deleuze’s Signs:
In this online, website version of the Augmented Treatment, I have placed icons within the text, or beside images or audio to indicate that the story element relates to one or more of Deleuze's different types of signs (e.g., perception-image, affection-image). Theser images convey the film's ideas, emotions, and narrative and reflect broader themes in Deleuze’s philosophy.
Movement-image
Deleuze categorizes cinematic signs into several types, primarily focusing on perception-image, affection-image, action-image, and relation-image, among others. Each type offers a different way of understanding how Apples and Oranges creates meaning and affects viewers.
Perception-Image
Definition: This focuses on how Apples and Oranges presents the act of seeing or perceiving. It's about the representation of visual perspectives and the subjective perception of characters or the camera itself.
Analysis:
There are scenes where the film emphasises the act of seeing or observing. The opening images of the first three chapters / sequences all use a similiar framing (on modernity) The deswcription and imagery of augmented treatment implies certain camera angles, POV shots, or framing to convey a particular character's perspective or a subjective viewpoint. (i.e. Henri as an observer)
These choices are intended to influence the viewer's understanding of the narrative or themes. There are also moments where the film manipulates perception to reveal or hide information, such as the decay of the victim in this scene
Affection-Image
Definition: Centers on the expression of emotion or affect, often captured through close-ups or expressions of faces and bodies.
Analysis:
There are moments that highlight emotional expressions or affective states, particularly through close-ups of faces or bodies in a state of becoming, transformation, or intensity.
These images contribute to the film's emotional landscape. They invite empathy, and they affect the pacing or mood of the film. Marguerite's expression and Henri's reaction in this scene is an example
Action-Image
Definition: Related to the depiction of actions and reactions within a situation, often driving the narrative forward.
Analysis:
There are sequences where action and reaction are prominently featured, these include chase scenes, fights, and situations where the characters engage with their environment in a goal-directed manner, Henri, Bouly on the run for example.
These action-images contribute to both the development of the plot and the characterisation. They are triggering the sensory-motor schema and how it's either fulfilled or disrupted. Bouly's immediate reaction to the sound of Drant's arrival is an example
There was a silence in the tavern. Everyone had stopped speaking. Then there was the rising tone of an automobile.
The Tavernmaster came quickly to their table. He bowed, and collected their tea, politely gesturing Bouly to the rear of the building, and handed him a metal box.
Relation-Image
Definition:Concerns the relations or connections between images, often involving more abstract or indirect associations that go beyond the immediate sensory-motor links.
Analysis
There are sequences or edits that create a relation or connection between images not directly related by action or narrative necessity. These include associative editing, thematic juxtapositions, or symbolic linkages.
These relations enrich the narrative or thematic complexity of apples and Oranges. The largest and most prominent of these is the mirroring of The Blue Parrott in the real wolrd and Le Paon Cerulean in Pantano.
Gilles Deleuze's concept of the time-image, is discussed here in Analysing Time Image