들뢰즈의 고전 영화와 현대 영화의 사이

Between Deleuze’s Classical and Modern Cinema: Losey and Pinter’s Accident

This paper reads Accident(1966), the second collaborative film between Joseph Losey and Harold Pinter, drawing on Deleuze’s film theory. Most of its critical readings emphasize the circular closed structure of Accident which opens with a car accident and ends with a mirror image of the accident, achieving structural perfection. But this reading emphasizes gaps, interstices between differentiations in its structure which is itself heterogeneous, by breaking with the classical cinema’s concern for the sensori-motor schema. The gap functions as the outside, i.e., the power of the whole in modern cinema, proliferating new direct time-images instead of merging with the indirect representations of time in classical cinema. Thus this paper reads Losey and Pinter’s Accident as a new becoming between Deleuze’s classical and modern cinema. According to Deleuze, with naturalism time makes a very prominent appearance in the cinematographic image, but only grasping the negative effects of time. Thus Accident as a naturalistic cinema can only construct new direct time-images by breaking with the naturalistic, i.e., psychoanalytic concern for the closed signifying chain of words and images in the screenplay. And Accident also as a classical cinema of perception-images can only finds its status as a modern cinema of free indirect subjective by reflecting Stephen’s subjective perception-images in a camera-consciousness. Thus this paper examines the emergence of new time-images such as opsigns and sonsigns, flashback memory-images and the attainability of the free indirect subjective, from the gap between the two cinemas of Accident as classical and modern cinema. Especially it focuses on Stephen’s search for lost time, i.e., truth in his mindscreen, i.e., flashback forced by Anna who unceasingly produces signs that must be deciphered, exercising sexual politics at the failure of the sensori-motor schema.