TIME–IMAGE ATLASP4 THEATER · DELEUZE
中文

TEXT → SHOT → SCHOLARSHIP · 2026-08-13

Fabulation: How the Speech Act Prefigures a People to Come

Tracing an unfinished collective through double becoming, material consequences, and collective enunciation

RELATION MODEL

Concept relation

  1. 01Characters tell and reenact their situation
  2. 02Character and filmmaker change one another's position
  3. 03Speech alters roles, resources, and labour
  4. 04Collective enunciation prefigures a people to come
THESIS

Fabulation produces reality through storytelling. Character and filmmaker become intercessors; private experience enters politics; speech changes roles, labour, resources, and authority. These visible effects produce collective enunciation and prefigure a plural, unfinished people to come.

Cinema 2 chapters 6 and 8 directly discuss Pour la suite du monde, Moi, un noir, and Black God, White Devil. Scene timecodes, visible facts, and consequences of speech come from this atlas's shot analysis; The Hour of the Furnaces compares another starting point for political cinema.

PRIMARY PASSAGES

Primary coordinates

DELEUZE PRIMARY TEXT

C’est l’appel à son peuple.

01

FACT → RELATION → TEST

Fabulation is a double becoming

Real characters become other through storytelling, while their intervention changes the filmmaker's position.
Three islanders confer above the river while one holds a wooden post or tool.
00:10:00Preparing to revive the beluga hunt

Preparations for the beluga hunt begin with a riverside discussion.

Bilibili at 00:10:00 Open scene evidence
SHOT PENDINGMoi, un noir

The query “我是黑人 让鲁什 1958” was run once (general ranking, all time, page 1) and returned neither Moi, un noir nor a verifiable key excerpt. Chronicle of a Summer and videos about Jean Rouch are different works and were not substituted.

verified 2026-08-14
DELEUZE PRIMARY TEXT

In Moi, un noir, assumed names, postsynchronized voices, and urban experience rewrite one another. Characters no longer supply material for a prior ethnography; through narration they perform and produce new subject positions, changing Rouch's authorial position through free indirect discourse.[1, pp. 156, 230][3, pp. 135–164]

ATLAS ANALYSIS

The first discussions in Pour la suite du monde transform a long-interrupted beluga hunt from elders' memory into a shared object. Perrault proposes the revival, while islanders provide knowledge, disagreement, and labour; neither side alone determines what the film will produce.[1, pp. 150–153][4, pp. 202–226]

Moi, un noir1958 · Jean Rouch / 让·鲁什Pour la suite du monde1963 · Pierre Perrault & Michel Brault / 皮埃尔·佩罗、米歇尔·布罗
RESULT

A character's telling, performance, or reenactment must change both the character's position and the filmmaker's structure.

COUNTERTEST

If characters merely answer fixed questions and editing extracts a prior thesis, storytelling remains information gathering.

02

FACT → RELATION → TEST

The speech act is evidenced by real consequences

An utterance acquires efficacy when it changes participants, resources, tasks, labour, or authority within the film.
Three islanders confer above the river while one holds a wooden post or tool.
00:10:00Preparing to revive the beluga hunt

Preparations for the beluga hunt begin with a riverside discussion.

Bilibili at 00:10:00 Open scene evidence
Three people steady an upright post together, with water behind them.
00:43:56Setting posts in the tide

Deliberation, roles, and materials become shared construction in the water.

Bilibili at 00:43:56 Open scene evidence
Three men converse in an outdoor area of the aquarium, with one positioned between the other two.
01:40:00Delegating a spokesman at the aquarium

The group delegates one member to speak for them inside an institutional setting.

Bilibili at 01:40:00 Open scene evidence
ATLAS ANALYSIS

Elders speak knowledge of tides, posts, and beluga; islanders form a plan through discussion, obtain equipment through financing, and set posts in the tide. Speaker, addressee, circulation, and collective labour occupy one timeline, so speech enters a material assemblage.[1, pp. 150–153][4, pp. 202–226]

ATLAS ANALYSIS

At the aquarium, the group explicitly delegates one person to speak on its behalf. An individual voice acquires a plural source and public capacity; authority is not conferred by voice-over but produced by a traceable act within the group.[1, pp. 150–153]

Pour la suite du monde1963 · Pierre Perrault & Michel Brault / 皮埃尔·佩罗、米歇尔·布罗
RESULT

For each utterance record speaker, addressee, path of circulation, and visible consequence. Changes in role, resource, labour, or authority establish the speech act.

COUNTERTEST

Dialogue that only repeats a completed plan without changing participation or conditions of action remains explanation or record.

03

FACT → RELATION → TEST

Collective enunciation prefigures a people to come

A plural speaking position forms through disagreement, relay, response, and delegation; the people remains minor, unfinished, and future-facing.
Corisco stares frontally beneath a leather hat hung with coins, black streaks across his face, while Manuel's head enters from below01:30:00
KEY SHOTBlack God, White Devil01:29:40–01:31:00

Bandit, mythical figure, and speaker are compressed into one face while allegiance remains in motion through speech.

VISIBLECorisco's coin-hung hat, facial streaks, and frontal close-up bind costume, body, and mythical identity.

AUDIBLECorisco challenges Manuel in loud, rhythmic speech closer to public performance than private conversation.

SITE ANALYSISFigures change allegiance among peasant, believer, bandit, and myth; the collective is not pre-completed, and Corisco's performative speech turns that absence into a condition of creation.

Cinema 2, chapter 8, pp. 225, 229.Bilibili at 01:30:00 Bilibili · Black God, White Devil complete film · verified 2026-08-14
SHOT PENDINGMoi, un noir

The query “我是黑人 让鲁什 1958” was run once (general ranking, all time, page 1) and returned neither Moi, un noir nor a verifiable key excerpt. Chronicle of a Summer and videos about Jean Rouch are different works and were not substituted.

verified 2026-08-14
A black-and-white photograph of Che Guevara's face after death fills the frame, his open eyes directed toward the viewer第1分段 01:22:30 / Part 1 01:22:30
KEY SHOTThe Hour of the Furnaces第1分段 01:20:00–01:24:50 / Part 1 01:20:00–01:24:50

The photograph is held for several minutes, turning projection from argument into a direct demand on the audience.

VISIBLEThe same death photograph continues to fill the screen; eyes, wounds, and facial texture are not quickly displaced by another montage item.

AUDIBLEThe extended still is supported only by continuing percussion; no character dialogue supplies the audience's conclusion.

SITE ANALYSISThe prolonged gaze of the death image and percussion turn the absent revolutionary into a direct relation of address, presupposing a revolutionary audience able to respond and continue the action.

Bilibili at 第1分段 01:22:30 / Part 1 01:22:30 Bilibili · The Hour of the Furnaces, part 1 · verified 2026-08-14
DELEUZE PRIMARY TEXT

In Black God, White Devil, myth, trance, and changing allegiance expose the people's absence. Figures move among religious leader, bandit, peasant, and myth; the collective is not completed before the film begins, and absence becomes a condition of creation.[1, pp. 225, 229]

ATLAS ANALYSIS

The montage, intertitles, pauses, and discussions of The Hour of the Furnaces directly address a revolutionary audience. This essay uses it as an atlas comparison: it begins with public address, while Perrault and Rouch film a collective speaking position taking form through speech.

Black God, White Devil1964 · Glauber Rocha / 格劳贝尔·罗恰Moi, un noir1958 · Jean Rouch / 让·鲁什The Hour of the Furnaces1968 · Fernando Solanas & Octavio Getino / 费尔南多·索拉纳斯、奥克塔维奥·赫蒂诺
RESULT

The full chain requires double becoming, real consequences, a plural speaking position, and an unfinished collective.

COUNTERTEST

When one leader represents a pre-completed, homogeneous people without internal difference, the speaking position is already closed.

COMPARATIVE TESTS

Film comparisons

DELEUZE PRIMARY TEXT1963

Pour la suite du monde

Memory enters plan and labour

Storytelling, financing, setting posts, and delegation form a traceable speech-act chain.

Three men converse in an outdoor area of the aquarium, with one positioned between the other two.01:40:00
KEY SHOTPour la suite du mondeapprox. 01:39:30—01:40:30

The group delegates one member to speak for them inside an institutional setting.

Bilibili at 01:40:00 Bilibili · 牛仔C麦 · user-provided public repost page · verified 2026-08-13
DELEUZE PRIMARY TEXT1958

Moi, un noir

Characters become through voice

Assumed names, postsynchronized voices, and urban experience produce new subject positions.

SHOT PENDINGMoi, un noir

The query “我是黑人 让鲁什 1958” was run once (general ranking, all time, page 1) and returned neither Moi, un noir nor a verifiable key excerpt. Chronicle of a Summer and videos about Jean Rouch are different works and were not substituted.

verified 2026-08-14
DELEUZE PRIMARY TEXT1964

Black God, White Devil

The missing people as creative condition

Myth, trance, and changing allegiance keep the collective unfinished.

Corisco stares frontally beneath a leather hat hung with coins, black streaks across his face, while Manuel's head enters from below01:30:00
KEY SHOTBlack God, White Devil01:29:40–01:31:00

Bandit, mythical figure, and speaker are compressed into one face while allegiance remains in motion through speech.

Bilibili at 01:30:00 Bilibili · Black God, White Devil complete film · verified 2026-08-14
ATLAS ANALYSIS1968

The Hour of the Furnaces

A presupposed revolutionary addressee

Begins from an addressable people, contrasting with a speaking position generated inside the film.

A black-and-white photograph of Che Guevara's face after death fills the frame, his open eyes directed toward the viewer第1分段 01:22:30 / Part 1 01:22:30
KEY SHOTThe Hour of the Furnaces第1分段 01:20:00–01:24:50 / Part 1 01:20:00–01:24:50

The photograph is held for several minutes, turning projection from argument into a direct demand on the audience.

Bilibili at 第1分段 01:22:30 / Part 1 01:22:30 Bilibili · The Hour of the Furnaces, part 1 · verified 2026-08-14
SCHOLARLY DIALOGUE

How scholarship advances the problem

REFERENCES

References

  1. 01

    DELEUZE PRIMARY TEXT Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (University of Minnesota Press, 1989).

    Chapter 6, pp. 150–156; chapter 8, pp. 215–230Publisher record and purchase access
    Atlas record Open source
  2. 02

    DELEUZE PRIMARY TEXT Gilles Deleuze, Cinema and Thought seminar, Lecture 12, 5 February 1985, Purdue archive.

    Around 114:00, fabulation and the peopleOpen audio, French transcript, and English translation
    Atlas record Open source
  3. 03

    SCHOLARSHIP Ronald Bogue, Deleuze on Cinema (Routledge, 2003).

    Chapter 5, especially “Powers of the False” and “Rouch's Ethnofictions,” pp. 135–164Publisher record and preview
    Atlas record Open source
  4. 04

    SCHOLARSHIP Ronald Bogue, “Fabulation, Narration and the People to Come,” in Deleuze and Philosophy (Edinburgh University Press, 2006), pp. 202–226.

    pp. 202–226DOI and publisher chapter access · DOI 10.1515/9780748627196-016
    Open source