SOURCE: A review of Cinéma 2: L'Image-temps, in French Review, Vol. 61, No. 5, April, 1988, pp. 821-22.

In the following review, Thiher maintains that The Time-Image “is to be highly recommended to anyone wanting to see how a very intelligent viewer tries to frame a theory of modern cinema covering films from neo-realism to Straub, Duras, and Pasolini.”

In the first volume of this study, L'Image-mouvement, philosopher Gilles Deleuze offered the reader a study of the grammar of classical film couched in terms drawn from Bergson and Pierce. That volume concluded with some comments on Italian neo-realism and the crisis that it inaugurated in classical cinematography, or the “crise de l'image-mouvement.” In the present study [L' Image-temps], Deleuze takes up his discussion of the development of Italian neo-realism as a prelude to the end of classical cinematography and the development of cinematic modernity in which the “image-temps” replaces the “image-mouvement...