This chapter argues that Deleuze's two cinema books, read through the concept of the crystal-image, point toward a notion not explicitly named in his work: crystal-time. Where the crystal-image is standardly understood as the coexistence of actual and virtual, two facets of a single moment becoming indiscernible, this chapter argues that such coexistence presupposes a more primary, undivided field, one in which the actual/virtual distinction has not yet been drawn. Tracing Deleuze's inheritance …
Read moreThis chapter argues that Deleuze's two cinema books, read through the concept of the crystal-image, point toward a notion not explicitly named in his work: crystal-time. Where the crystal-image is standardly understood as the coexistence of actual and virtual, two facets of a single moment becoming indiscernible, this chapter argues that such coexistence presupposes a more primary, undivided field, one in which the actual/virtual distinction has not yet been drawn. Tracing Deleuze's inheritance and transformation of Bergsonian duration, the chapter follows the movement from the sensorimotor schema of classical cinema, through its postwar crisis, to the direct images of time in Resnais, Ophuls, and Godard. Crystal-time, it argues, names what these images approach but do not quite show as such: the differentiating medium from which both Chronos and Aion, and both actual and virtual, are derived. The chapter closes by considering what this implies for a materialism understood as historical rather than dialectical.