새로 번역하며 / 7 역자 서문(2019) / 9 감사의 말 / 16 일러두기 / 19 약어표 / 24 다이어그램, 도표, 영화 프레임 목록 / 26 서론_들뢰즈의 시네오시스 / 33 제1부 / 시네오시스 열기 제Ⅰ장 / 첫 번째 방법 | 이미지의 두 체제 66 1. 운동-이미지와 시간-이미지 베르그손, 이미지 그리고 지속 ························ 69 2. 운동-이미지 퍼스, 세미오시스 ································································· 88 3. 시간-이미지 들뢰즈, 종합들 ··································································· 131 4. 시간-이미지와 운동-이미지 베르그손, 지속 그리고 이미지 ······················ 180 제Ⅱ장 / 두 번째 방법 | 이미지와 기호들의 계열 188 1. 지각-이미지 ·························································································· 191 2. 감정-이미지 ·························································································· 198 3. 충동-이미지 (발생 초기의 행동-이미지) ·················································· 205 4. 행동-이미지 (작은 형식, 행동 → 상황) ················································ 213 5. 행동-이미지 (큰 형식: 상황 → 행동) ····················································· 220 6. 견인-이미지 (첫 번째 반성-이미지: 여섯 번째 정신-이미지) ·················· 233 7. 도치-이미지 (두 번째 반성-이미지: 다섯 번째 정신-이미지) ·················· 241 8. 담론-이미지 (세 번째 반성-이미지: 네 번째 정신-이미지) ······················· 248 9. 꿈-이미지 (세 번째 정신-이미지) ························································· 259 10. 회상-이미지 (두 번째 정신-이미지) ······················································ 266 11. 관계-이미지 (첫 번째 정신-이미지) ···················································· 274 12. 시지각 기호와 청각 기호 ····································································· 283 13. 유리 기호 ··························································································· 294 14. 시간 기호 ··························································································· 303 15. 정신 기호 ························································································· 312 16. 가독 기호 ··························································································· 320 제1부 후기 / 펼쳐진 시네오시스 ································································ 338 제2부 / 시네오시스의 실제 제Ⅲ장 세 번째 방법 | 시네마토그래픽스 (1995∼2015) 345 1. 〈잠수종과 나비〉 | 고체 지각 ······························································ 347 2. 〈타임코드〉 | 액체 지각 ······································································ 351 3. 〈나코이카시〉 | 기체 지각 ··································································· 356 4. 〈테러리스트〉 | 도상 ··········································································· 360 5. 〈슈퍼베드〉, 〈슈퍼베드 2〉, 〈미니언스〉 | 분체 ································· 365 6. 〈네 가지 시간〉 | 임의의 공간 ·························································· 370 7. 〈휴먼 센티피드〉 | (첫 번째 시퀀스) 증후 ········································· 377 218. 〈해리 포터와 죽음의 성물〉 1부와 2부 | 물신 ····································· 382 9. 〈이노센스〉 | 근원적 세계 ··································································· 388 10. 〈마더〉 | 결핍의 지표 ······································································· 394 11. 〈킬러 인사이드 미〉 | 모호성의 지표 ················································· 399 12. 〈아자미〉 | 벡터 ················································································ 405 13. 〈오늘의 맑시즘(프롤로그)〉와 〈무제〉 | 사회적 환경 ······················· 409 14. 〈메이드 인 대거넘〉 | 이항식 ···························································· 416 15. 〈피쉬 탱크〉 | 각인 ········································································· 425 16. 〈흔들리는 구름〉 | 조형적 형상(形象) ················································ 431 17. 〈스콧 필그림〉 | 연극적 형상 ···························································· 436 18. 〈소스 코드〉 | 미장아빔 ···································································· 441 19. 〈네 얼간이〉 | 숭고의 형상 ······························································ 447 20. 〈슬랙키스탄〉 | 쇠약의 형상 ······························································ 452 21. 〈울부짖는 남자〉 | 일상적인 것 ························································· 458 22. 〈몬스터즈〉 | 큰 형식 행동-이미지의 극한 ········································· 463 23. 〈브룩클린 파이니스트〉 | 작은 형식 행동-이미지의 극한 ····················· 468 24. 〈메트로 마닐라〉 | 행동-이미지의 한계 ·············································· 472 25. 〈스타트랙 8: 퍼스트 콘택트〉 | 풍부한 꿈 ········································· 478 26. 〈머시니스트〉 | 소박한 꿈 ································································· 481 27. 〈인셉션〉 | 세계의 운동 ···································································· 484 28. 〈시크릿 인 데어 아이즈〉 | 강한 운명 ··············································· 489 29. 〈백인의 것〉 | 약한 운명 ··································································· 495 30. 〈트라이앵글〉 | 분기하는 길들 ··························································· 500 31. 〈세븐〉 | 표식 ··················································································· 506 32. 〈닥터 후: 닥터의 날〉 | 탈표식 ························································· 511 33. 〈베리드〉 | 상징 ················································································ 519 34. 〈파이브〉 | 시지각 기호와 청각 기호 ················································· 526 35. 〈블랙 스완〉 | 마주 보는 거울 ·························································· 536 36. 〈셀프 메이드〉 | 투명과 불투명 ························································· 542 37. 〈시네도키, 뉴욕〉 | 배아와 환경 ························································ 551 38. 〈엉클 분미〉 | 현재의 첨점들 ···························································· 556 39. 〈러시아 방주〉 | 과거의 시트들 ························································· 561 40. 〈24시티〉 | 거짓의 역량 ···································································· 568 41. 〈아임 낫 데어〉 | 태도의 신체 ·························································· 572 42. 〈형용사, 폴리스〉 | 사회적 몸짓, 게스투스 ········································· 575 43. 〈도그빌〉 | 뇌의 시네마 ···································································· 582 44. 〈엔터 더 보이드〉 | 가독 기호 ·························································· 585 참고문헌 / 596 필모그래피 / 603 찾아보기 / 607

1. 운동-이미지와 시간-이미지 베르그손, 이미지 그리고 지속 들뢰즈에게 시네마는 운동-이미지와 시간-이미지다. 영화 이미지의 두 체제를 근본적으로 분할한 것은 앙리 베르그손의 철학에 영향을 받은 것이었다. 물질과 기억(1896)에서 베르그손은 제목이 암시하고 단언하듯이 순수 물질과 순수 기억 사이의 근본적 차이를 탐구한다. 그것은 감각-운동 체계와 즉흥적 생각 간의 차이, 즉 신체(살, 뼈, 신경 체계, 뇌)와 정신(의식의 단계들)의 차이에 대한 탐구이다. 들뢰즈는 베르그손의 철학을 전용하여 영화에 적용하고 있다. 그는 감각 -운동 체계를 조직화하여 운동-이미지를 설명하고, 순수 기억과 즉흥적 사고를 고찰하여 시간-이미지를 설명한다. 다른 말로 하면, 베르그손의 철학은 시네오시스에 핵심적인 분류학을 제공한다. 그러나 그러한 분류는 단지 어떤 하나의 영화적 경향으로서 간주되어야 한다. 왜냐하면 모든 시네마는 반드시 물질-이미지와 물질에 대한 이미지이기 때문이고 또 모든 시네마는 불가피하게 어느 면에서 기억과 사유를 포착하고 표현하며 그것들을 불러일으키기 때문이다. 따라서 베르그손이 감각-운동 체계와 기억-사유를 나눈 것은 운동-이미지와 시간-이미지의 분류학적 좌표를 제공하는 반면, 시네오시스라는 통합된 철학에 영감을 주는 것은 감각-운동 체계와 기억-사유 간의 관계다. 운동-이미지와 시간-이미지는 그래서 두 개의 축을 가진다. 운동-이미지는 세계와 그 신체들이 순수 기억과 즉흥적 사고를 포획하고 조직하고 구조화하는 방식들을 표현하려는 시네마의 한 경향이며, 시간-이미지는 순수 기억과 즉흥적 사고를 통해 감각-운동 체계를 벗어나서 그 근간을 흔들고 파괴하고 방해하기 위한 수단들을 발견하려는 시네마의 한 경향이다. 두 시네마 체계의 이중의 분절은 베르그손주의를 비판하면서 나온 것이 아니라 들뢰즈에게는 오히려 바로 베르그손 철학의 본질이다. 순수-즉흥적 사고 없이는 감각-운동 체계는 있을 수 없다. 그리고 감각-운동 체계 없이는 순수-즉흥적 기억도 없다. 또한 지속 없이는 이미지도 없고, 이미지 없이 지속도 없다. 베르 그손은 그러한 분할과 관계를 다양한 방법으로 설명하고 있다. 예컨대 그는 시간과 공간의 차원들이라든가 현실태와 잠재태라는 고유의 철학적 개념들을 사용해서 그것을 설명하고 있다. 그리고 들뢰즈는 이러한 분할과 관계를 영화 예술로 확장시켜 운동-이미지와 시간-이미지라는 개념들을 만든 것이다. | 감각-운동 체계와 순수 기억 감각-운동 체계에 대한 베르그손의 설명은 우주의 중심에 위치한 살아 있는 신체의 작용을 서술하고 있다. 신체와 세계는 둘 다 물질로 만들어져 있으며 물질 안에 있다. 그리고 베르그손에게 물질은 이미지이며 이미지들의 집합을 형성한다. 신체는 우주의 이미지의 중심에 있는 어떤 이미지다. 여기서 우주란 다양한 크기를 가진 수많은 이미지들로 구성된 것이다. 그리고 그 이미지들은 다른 이미지들과 끊임없이 상호작용한다. 따라서 그 신체는 끊임없이 충돌과 접촉을 갖게 된다. 즉 신체 바깥의 이미지에 의해 운동을 하게 된다. 이러한 운동은 지각으로 수용되고, 이 지각들은 물리학, 화학, 생물학의 법칙을 따르고, 이어서 적절한 반작용을 결정하게 된다. 세계는 이제 신체에 의해 생산된 작용의 지배를 받는다. 여기서 우리는 다음과 같은 공식을 만나게 된다. 지각에서 → 작용으로. 시각적 지각에서 빛의 분자들은 망막에 해당하는 빛 수용 장치와 충돌한다. 그러한 시지 각은 청각, 촉각, 후각과 질적으로 다르지 않다. 이 모든 지각은 운동의 수용체이고, 물질의 반작용이며 물질 안에서의 반작용들이다. 빛은 망막에 열을 가하여 시각적 이미지를 새기고, 음파는 망치가 모루를 치듯이 귀의 고막을 쳐서 어떤 청각적 이미지를 새기는데, 이와 같은 지각들이 신체를 통과한다. 즉 그 지각들은 감각적인 것에 대한 반응으로 어떤 행동을 생산하는 신체의 신경 체계와 뇌를 통과한다. 전기적 역량과 화학적 균형상태가 변하고, 유기체는 운동한다. 즉 유기체는 어딘가로 향하거나 거부한다. 그리고 세계 안에서 동력이 되어 그 세계의 이미지 안팎에 변형을 가한다.