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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 * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. **