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The appearing memory: Gilles Deleuze and Andrey Tarkovsky on `crystal-image'

Freie Universität Berlin, Germany, alex.kozin{at}gmx.net

In this article I examine the concept `crystal-image,' as developed by Gilles Deleuze in the two volumes of Cinema (1986—89). In these texts, Deleuze examines the ways in which phenomenality of time discloses itself through the semiotic dimension of cinema. Subsequently, Deleuze identifies three distinctly different senses of cinematographic time: (1) time as the movement of image; (2) the movement of time-image; and (3) the appearance of time itself. In this article I elaborate the latter via the concept of `crystal-image'. The main objective behind my examination is two-fold: demonstrate that cinema can be approached as a special kind of phenomenological inquiry (semiotic phenomenology) and, on the strength of this hybrid method, further our understanding of memory and its materiality. An analysis of Andrey Tarkovsky's film Solaris provides an illustration.

Key Words: disclosure • limit-phenomena • materiality • semiotic phenomenology • Solaris

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Memory Studies, Vol. 2, No. 1, 103-117 (2009)
DOI: 10.1177/1750698008097398


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This Article Abstract Free Full Text (Free PDF) Free Alert me when this article is cited Alert me if a correction is posted Services Email this article to a friend Similar articles in this journal Alert me to new issues of the journal Add to Saved Citations Download to citation manager Request Permissions Request Reprints Add to My Marked Citations Citing Articles Citing Articles via Google Scholar Citing Articles via Scopus Google Scholar Articles by Kozin, A. Search for Related Content Social Bookmarking                         What's this?