Adrian, is this Deleuzian concept applicable to how I see the helicopter
shots of the Cote d'Azur in TO CATCH A THIEF - showing villas clinging
intepidly to what are clearly ancient hills - as doing rather more than
just create a certain visceral excitement? (I would relate to such
shots others of the region's architecture, some of it centuries old, but
constantly in contrast with the up-to-dateness of the goings-on in the
film.) As regards the matter of 'justice' and 'lawfulness' that I
detect as a major theme (cf Robie telling Hughson, in words that are
proleptic for his own case, that he'll have to give an account 'some
day'), I have said elsewhere that the film contrasts what philosophers
call 'temporal justice' and 'eternal justice' - if you follow me! (Here
cf Danielle's bitter complaint to Robie that he, up in his villa, has
been living a life of luxury, albeit in a sort of 'limbo', while down
below his former colleagues find themselves working 'like idiots for a
loaf of bread'.)
From this, I might ask further: but how can Deleuze's concept be USEFUL
to an analysis of narrative film, as opposed to abstract or documentary
film (where such 'stratiagraphic' images may be played against each
other, cumulatively or rhythmically or in other ways). Narrative cinema
might seem bound to employ such images only in passing, to signal a
theme or set a mood. Or did someone like Antonioni show otherwise?
Please enlighten!
- Ken
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