Abstract:
This paper studies the role of the semiotic discussions of Charles Sanders Peirce، the American philosopher and mathematician، in the formation of Deleuze’s first leading book on cinema، Cinema 1: the Movement-Image، in which the author surpasses Peirce’s semiotics. We will show how Deleuze creates a new form of signs in his second leading book on cinema، Cinema 2: the Time-Image. Deleuze had tried to couple the patterns of Peirce’s semiotics in his first book with the philosophical discussions on different epochs of the classical cinema. In his second book، he tried to surpass Peirce’s semiotics، proposing patterns of new semiotics concerning modern cinema by modeling on Peirce’s semiotics. This paper attempts to propose the Peircian signs in Cinema 1: the Movement-Image and Deleuze’s modeling on the signs in Cinema 2: the Time-Image، showing that such a surpassing for Deleuze is the key point of under-standing philosophy. It helps him to reach his particular semiotics based on both Peirce semiotics and Bergson’s philosophy of time، while being completely different from them: noosign.
Machine summary:
"" In defining this sign, Peirce says that "a rheme is any sign that is neither true nor false, like almost any single word except yes and no which are almost peculiar to modern languages" (Peirce and Welby: 33-4) -based on the matter that it represents the object and signifier for the signified or interpretation as a reality or real being; it is called "dicisign.
(ibid: 74) Here, perception-image instead of swinging between two subjective and objective poles is in a way "an immobilization according to a higher aesthetic form" (ibid: 76), which is like a composition sign in Peirce’s terminology: dicisign.
The large form of action-image created a sort of moviemaking and acting based on the pair of object and emotion the representative of which is "Actors Studio" and, as Deleuze says, one of the pre-eminent directors of this style was Ellia Kazan (1909- 2003) (ibid: 155-59).
Actors Studio makes a kind of sensorimotor link; on the one hand, object makes relationship, even imaginary relation, with situation, for example, with clothes, tools, and, on the other hand, the object with this relation arouses affective memory: an emotion and a "pair of object/emotion" or emotive objects come into existence, that, according to Deleuze, the genesis sign of action-image is imprint or impression.
In his book Cinema 2, Deleuze created the time-image with the infrastructure of Peirce’s semiotics and the materials of Bergson’s concepts."