the time-image

For Gilles Deleuze, time in cinema has two main moments; on one hand, it can appear only as a platform for the action of subject, and on the other hand, it can overcome the limitations of recognition by freeing itself from the subordination of the action and give a deeper view of the reality of the object. By proposing the concept of time-image, Deleuze shows that the virtual forces of time remove thought from the sensory-motor schema of cognition and bring it to a state of the unthinkable so that the new image of thought can be recovered in its becoming. This descriptive-analytical article with a qualitative nature examines the time-images in four films of Mohammad Reza Aslani using the library method and image study according to Deleuze’s approach. Considering the hypothesis of the non-chronological presence of time in the narration of these works, the question is how time-images expand the different aspects of the original form of the image and invoke its multiple possibilities. The results show that in the mentioned works, time reproduces the different by passing the image from its apparent function. What happens is the resurrection of an image that, not as a repetition of the identical, but as an image of the possibility of what was in its novelty, returns the new in the structure of cinema and thought to re-establish our links with the world, according to Deleuze.

Abbas Kiarostami and Gilles Deleuze were unconventional figures, Kiarostami with his films and Deleuze in Film Studies. But both of them have one thing in common, and that is to return to the question of the essence of cinema. Kiarostami, especially in his three works, Birth of Light, Five, and 24 Frames, with techniques such as de-dramatization of random encounters and completely accidental disturbances, questions the common realism and the perception of the immediate recording of reality by the camera, and on the other hand, Deleuze with his ideas follows establishing a new ontology of film trying to find a new answer to the question of what is cinema. By putting forward the concepts, the movement- image and the time-image in relation to other concepts such as perception, action, affect and crystal, Deleuze draws a theoretical structure to show how a film works. According to Deleuze, the work of film analysis and film-thinking is to develop concepts that are related to cinema. According to him, every film has goals, and cinematic techniques such as framing, plan, and montage make sense in relation to these goals, but these techniques assume those goals and do not explain them. It is the goals that make the specific concepts that Deleuze is talking about. In the present research, an attempt has been made to examine some of these concepts in the face of three works by Abbas Kiarostami. At first glance, it may seem that the three mentioned films do nothing but reproduce the visible world; It means reality, and here nature is captured in a de-dramatized and de-personalized state without the intervention of humans or subject. But in Deleuze's approach to these films, it is made clear that they are not only not representing the visible, but are in the process of making visible. Because of the three films, The Birth of the Light, Five and 24 Frames, have been pushed to the limits of the essence of cinema, they reveal a perception of life.