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Deleuze does not see the cinematic image as something that should praised for its ability to create reality resembling illusion. On the contrary he sees the frame as essentially ensuring “the deterritorialisation of the image” (1986:15) because images with very different measurements get eventually projected on the same screen, in the same frame. Extreme close-ups and long shots are accommodated in the same measurements and that changes their relationship to each other. This ends up in creating a distinct images specific of the film-world.
For me the most interesting function of the frame that Deleuze talks about is the creation of the relationship with the out-of-field. He explains its functioning on two levels. Firstly in the way a framed set is creating and delimiting its own out-of-field sets and establishes relationships with them. This could happen either by literal framing that leaves elements and actions partly out of…
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