Lost is a work sincererly document my trama after a precious relationship.
i will never hear you foodstep agian maxim. you are the warterloo in the dawn and sun will not rise agian its your darkest moment and the brightest of mine i will sign on your skin with my sorrow and desire love and lust then you will see the best of us maxim lady’s wearing moustachge and men smell like perfume the word behind your lips maxium its only vivi Je ne supporte pas de te haïr.
To all the young writer who delicate in life and spread it with gentle word. infant; youth; mature;old Wish you can sail into the long night Praise every sincere soul wandering in the sea Feel the liveful of liver and vessel whisper to the sound beyond sing along in a burn down town embrace your every sudden breathe And sign it with no sorrow and fears
The first thing which is striking is a project that is difficult to define. Because it is a singular book, first of all in Deleuze’s own oeuvre. Despite the small value of such distributions, we in effect find in this oeuvre what could be called books of general philosophy- Difference and Repetition or The Logic of Sense – and monographs on a given author, philosopher or not, some of which are no less significant works: on Nietzsche, Proust and Spinoza {The Fold being situated between the two: a reflection on Leibniz, and a philosophy of the Baroque; as also the essay on Bacon, Logique de la sensation) . But never would Deleuze, alone or with Félix Guattari, have conceived in this way a book on an art, a domain here named Cinema. The domain could- the idea sometimes comes up- just as well have been called Literature or Painting: two years before The MovementImage, the Bacon book initiates such a gesture towards painting; Critique et clinique , later on, will touch on literature, but in monographic fragments, and mixed with philosophy. It is thus not without a strong reason that the domain touched in this way a single time in its entirety is called Cinema.
Let us consider also the way Deleuze, in The Time-Image , carves up cinema once again, in relation to language, dialogue and more generally to the soundtrack, forming three great stages that match his first division. There is thus the silent cinema in which the image is double: on the one hand purely seen, on the other read in the intertitle; classical sound cinema in which the image is visible and readable at the same time because speech has become an internal dimension; modern cinema, which in its extreme examples tends to separate the components of the image between an autonomous text and an autonomous image, both visible and readable at the same time, together and separately
Such a concern for history, for periodization, is not new in Deleuze. We can think of the review he carries out at the end of his book on Foucault, inspired by the vision of this thinker, in order to propose a three-way division- “the classical historical formation”: “the God-form”; “the historical formation of the 20th century”: “the man-form”; “the formation of the future”: “the over-man” (he says also: “the un-fold,” “the fold,” “the over-fold”). We can also think of the way he grasps, thanks to Bacon, the great stages of painting since Egyptian art, since “each painter summarizes in his own way the history of painting.” We can especially think of the great triad of the third chapter of Anti-Oedipus : “Savages, Barbarians, Civilized Men,” a sketch of a “history” of humanity; its movement opening up, on the current of a controlled drift, its own fracture and diffraction into dated conceptual events which fly into sparks in the disjointed spaces of A Thousand Plateaus (Deleuze will in fact say about these books written with Félix Guattari: “We have always had a taste for a universal history.”5) We can think in this way of the historical “Geophilosophy” dimension of What Is Philosophy ? Such are the signs, and much more than just signs, of an always operative tension between analyzing, describing, thinking and recounting. Because a history is above all everything that seeks to recount itself and finds itself being recounted.
Work Cited：Thinking,Recounting: The Cinema of Gilles Deleuze
إنه فيلم معد منذ فترة طويلة، وهو يزداد اكتمالاً منذ البداية. واستمرت تسعة أشهر. أكثر أو أقل تشارك في جزء من حياتي. لقد مررت بالكثير في تسعة أشهر لقد مررت باوقات كنت فيها اتطلع الى الفيلم ، لقد مررت باوقات كنت فيها في شك حول هذا الموضوع ، لقد مررت بذرات إبداعية ، لقد مررت بأزمة وجود مستمرة منذ فترة طويلة. هذا هو عمل من التأمل والنبوة. تجارب الناس هي المرصوفة معا في بصمات العصر، والتي هي تكافلية عندما تعكس والإنسان على جانب بحيرة. الفيلم يخلق عمدا الكثير من النوايا المتعارضة، والبرية والمدن؛ الشباب والشيخوخة؛ الأزرق والأحمر. الأفلام الوثائقية الزائفة نفسها تأخذ شكل شعور طبيعي بالصراع. وتشير هذه النوايا في نهاية المطاف إلى الانسجام. سيكون هناك العديد من الأشياء المتضاربة على ما يبدو في الحياة، لكنها لا تزال تحافظ على الانسجام الداخلي. إنه شيء لطيف جداً
هذه المرة بالنسبة للأعمال السابقة، هو عدد كبير من المشاريع. ويشارك الكثير من الناس في هذا المشروع. كما تغيرت هويتي من مبدع مستقل سابق، مخرج. أنا لست مخرجاً مؤهلاً لقد ارتكبت الكثير من الأخطاء خلال الدورة الإبداعية التي استمرت تسعة أشهر. كما حدث الكثير من الإجهاد داخل الفريق. حدث شيء لأقرب الناس لي، وجعل من المستحيل بالنسبة لي لمواجهة العمل. هذه الأشهر التسعة أعطتني مساحة كبيرة للنظر.
“ذات مرة، كنت دائما يعتقد أن الأمور كانت بسيطة. من السهل أن يعجن، والتلاعب، والعالم هندسية في عينيك. لا أستطيع الشعور بحبك ولا أستطيع رؤيته أنت لا تحب العالم، الحب الواسع. لأنك لم تفكر أبداً في مكانك في هذا العالم، أيها المتفرج، لكنك تعيش هنا، كيف لا تكون بعيداً عن الاتصال. الناس المُتّهمون يشكّلون جزراً، أنفاساً جشعة. ولكن عندما أرى أن دمي لا يتدفق فقط، ولكن دم الناس يتلاقى في الأنهار. يبدو لي أن عبرت الجدار بلدي ، وجميع المشاكل التي يزعجني لم تعد متشابكة مثل خطوط. في هذه اللحظة، رأيت عيني عشيقي، كانت هناك للنظر في وجهي، كانت جميلة. “
It’s a long-prepared film, and it’s getting fuller from the start. It lasted nine months. more or less involved in a part of my life. I’ve been through a lot in nine months. I’ve been through times when I’m looking forward to the film, I’ve been through times when I’ve been in doubt about it, I’ve been through creative climaxes, I’ve been through a crisis of existence that’s been going on for a long time. This is a work of reflection and prophecy. People’s experiences are cobbled together into the imprints of the times, which are symbiotic when they reflect and man on the side of a lake. The film deliberately creates a lot of opposing intentions, wilderness and cities; youth and aging; blue and red. Pseudo-documentaries themselves take the form of a natural sense of conflict. These intentions ultimately point to harmony. There will be many seemingly conflicting things in life, but they still maintain inner harmony. It’s a very gentle thing.
This time relative to the previous works, is a large number of projects. A lot of people are involved in this project. My identity has also changed from a previous independent creator, a director. I’m not a qualified director. I made a lot of mistakes during the nine-month creative cycle. A lot of stress has also happened within the team. Something happened to the people closest to me, and it made it impossible for me to face the work. These nine months have given me a lot of room for introspection.
“Once upon a time, you always thought things were simple. Easy to knead, manipulate, the world is geometric in your eyes. I can’t feel your love, and I can’t see him. You don’t love the world, broad love. Because you never thought about your place in this world, bystander, but you live here, how can not be out of touch. A complacissed people form islands, greedy breaths. But when I see that not only my own blood is flowing, but people’s blood converges into rivers. I seem to have crossed my wall, and all the problems that bother me are no longer entangled like lines. At this moment, I saw my lover’s eyes, she was there to look at me, she was beautiful. ”
