ABSTRACT
The criteria for working with Deleuze's cinema books - Cinema 1: The Movement-Image, and Cinema 2: The Time-Image - might be summarized quite simply: how and where do we see, hear and sense the perception of being? What is learnt, what is lost, what is wasted, what is invented in the recognition of the narratives, concepts and structures of life, giving rise to images of meaning in the cinema? How does the activity of relationally generated thought-perception occur within the cinema, and how might it be analysed?
