The long philosophical experience since the beginning of the human history teaches us that any clear and solid reality finally escapes from our perspective. After the defiant experiment of the German idealism, we have lost sight of stable grounds for beings. During last one hundred years we have managed in vain to find any certified reality.

Gilles Deleuze, reflecting on our one hundred years failure, retook Bergson’s “image” ― as a distinct existence in the middle of a thing and a representation, and pointed out that a film was an expression of the “duré” penetrating this whole universe founded on the exchangeability among a matter, a movement and an image.

Although Deleuze’s “Cinema I & II”, rich in profound insights both aesthetic and filmic, classified systematically various images from the genuine philosophical point of view, the development of the time-image from the movement-image depended only on the film-historical or film-evolutional accounts. In this paper, we will show this incoherency in Deleuze’s thought which may due to the fact that Deleuze was too contemplative and forgot the material pleasures the film gives us.

How is the traditional movie changing in our time? Let’s consider this question relative to the living environment so as to observe the metamorphosis of contemporary narrative media as it is manifest outside the traditional theater.

lnitially, the appearance of the electronic image had a great impact on the traditional character of film. Secondarily, the post-modern city drew the moving image out of the theater.

The city sprawled, and as commercial and amusement zones became exhausted, they were rebuilt in the skyscraper. People moving to the suburbs must pay a high cost in time and money to commute back to the center. But many don’t. They stay at home watching TV or a video movie, assuming that the programming and publicity are presenting a kind of narrative reality. They do not just look at the images but edit and re-arrange them to make their own orriginal narration. They are amused by the fiction of familycomputor games.

On the other hand, many of those moving lately back into the city will live in overpopulated zones, in high density and small spaces. To escape the confines of their small living rooms, many will be drawn to the high information environment of the “the public space”. Film should be shown on their ”living-road”.

In response to its given environment, the “movie” metamorphoses into other form such as artwork in the gallery, virtual games, arcade games, public art and “street furniture” such as the “sky road” from which one can survey the spectacle.

We can say the city itself is a mixed and poly-narrative film.

Narrow-gauge filmmaking before WW Ⅱ plays an important role in Japanese film history with respect to the forerunner of the experimental film movement of the 1950’s and beyond. This paper, to excavate this unknown history, examines the relationship between the basic and additional technics used with Pathe-baby machinery and aesthetic norms which appeared in several critiques around 1930. The basic technics of camera movement, exposure, and developement rely on the aptitude representation of human visual images and on transparency of the cameraman’s presence. These aesthetic norms therefore generate some technical taboos such as return panning. On the other hand, the curious characteristics of Pathe-baby projectors, which were furnished with the stop-frame-function, could produce expanded cinema as a mixed media. Although the aesthetic norms ruled the technical norms and the technical norms sometimes limited the flexibility of aesthetic norm, but the challenge against the technical code and the utilization of the special characteristics of the machinery itself showed the capability of aesthetic norms to expand and generate experimental filmmaking.

La première réalisation de René Clair, Paris qui dort (1924), retient notre attention par différents points, mais son originalité la plus frappante consiste, à notre sens, dans sa conception auto-réflexive du cinéma, qui se manifeste à travers divers éléments, narratifs et/ou formels, du film, donnant lieu à unretour aux sources, à une revalorisation très consciente de l’“essence” du cinéma. Plus concrètement, cet effet se produit d’une part par l’adoption d’un style qui s’approche volontairement du cinéma “primitif” (réflexivité diachronique), et de l’autre par l’attachement particulier aux différents motifs du “mouvement”, à commencer par l’absence même de ce dernier, sur laquelle est fondée toute l’histoire du film (réflexivité synchronique). Or, cette notion d’auto-réflexivité au cinéma, qui semble déterminer l’ensemble du cinéma dit moderne et du discours cinématographique de notre temps, était-elle présente dans l’imaginaire de la représentation filmique de l’é poque? Pour répondre à cette question, notre étude se propose d’examiner de nombreux articles (textes du réalisateur et divers articles de critique et de circonstance) qui furent consacrés à ce film, ce qui nous amène à constater non seulement que Clair lui-même manifestait une conception pleinement réflexive du cinéma, mais aussi que la critique, spécialisée ou non, la reconnaissait en tant que telle, même si ce point de vue n’était pas le plus repandu. L’auto-réflexivité au cinéma était donc une problématique valable, sinon dominante, dans les années 20.

Following George MELIES’ “Le Manoir du diable” (1896), many horror films were produced in Germany in the late 1910s and in the 1920s, under the strong influence of German romanticism. In Hollywood, Universal and RKO contributed many films to the genre, which was inspired by the English Gothic novels. In the late 1950s and in the 1960s, the horror film, now in color, began to flourish in other countries. The Italian horror film genre started with “I vampiri” (1957) by Riccardo FREDA, with Mario BAVA as cameraman. BAVA’s debut as director “Black Sunday” (1960) was based on the Russian Gothic novel “Vij” by Nikolaj GOGOL. BAVA worked also as cameraman for this film, and his outstanding visual technique and excellent special effects created an atmosphere which dominates the genre. Like this film by BAVA, Italian horror films are often considered as “faceless”, without any Italian characteristics, and accused of being mere imitations of - mainly - American films. However, this “international” character in the setting and language is required by commercial reasons and can be considered as uniqueness of the Italian horror film genre.

In our time we see Lumière’s films as having clear meanings. When we see a Lumière’s film titled “Wokers leaving the Factory”, we understand that this film recorded the wokers leaving the factory. There is no question.

But in 1896 first film audiences saw excessive meanings in Lumière’s films. For example, O. Winter, first film reviewer in Britain, tried to describe many men and women in “Wokers Leaving the Factory”. For him this film recorded not a crowd as a whole but many individuals. He expressed it as ‘a picture with a thousand shifting focuses’. So the filmic vision is beyond human’s understanding.

I think this is a essential character of the filmic vision. Films don’t communicate a clear meaning. Because camera perceives all facts occuring before it without adaptation by the brain. But many film scholors oversighted this point. They have studied films only as a human culture or a communication media. So We must study films as the non-human vision.

Martin Jay’s conception of “scopic regime” is the key access to our vision, it s meanings and its socio-historical aspect. Like him, Peter Galassi and Jonathan Crary outline the rupture between the modern regime of vision and Renaissance or classical mode of vision, both of which underpinned the structural change in the Western history of vision. ltalian Renaissance art is identified with the rationalistic and decorporealizing scopic regime, what Jay calls Cartesian perspectivism and what Crary calls the camera obscura model of vision. In opposition of it, for Galassi, stands the Dutch 17th century art as the root of photography. Crary insists that various optical devices including photography brought about the rupture between perception and its object, and the reconstruction of vision, from the late 18th century to the early 19th century. As modernization of vision has proceeded since then, we have come into the computer-aided image production at the risk of increasing the distance of perceptive subject and its object. Recent pervading of 3-D and stereoscopic planar images based on the tactile perception may be a sign of baroque-like recovery from the predominant rational perspective vision.