The Ontology of Cinematic Images in G. Deleuze`s Cinema

The purpose of this article is to clarify the ontological meaning of cinematic images in Deleuzes philosophy. Bergson proposes the concept of Image in order to resolve the philosophical problems of dualist theories concerning matter and mind. Bergsons images include both materiality and spirituality. But the images are identified with matter that exists outside of consciousness. Deleuze accepts Bergsons concept of images in Cinéma and applies this concept to the cinematic images. Deleuze further applies Bergsons theory of perception to the cinematic perception-image. In this course of discussion, Deleuze extends Bergson's plane of materiality into the plane of immanence. The plane of immanence plays a role of being an ontological basis for the philosophy of Deleuze. It is the foundation on which concepts and methods could be established and not on the foundation of conceptualization nor methodology. This plane of immanence is the main grounds of argument in determining the ontological phases of human perception and cinematic perception-image. Perception-image is formed when human interests, utility or camera viewpoints are subtracted from the plane of immanence of imagery. Therefore both perception and image belong to the same realm of reality. The same goes for cinematic perception-image. Then in the theory of Deleuze, we must discuss all images, human perception and cinematic perception at the same level of reality. Deleuze endows ontological grade to these perception-images existing in reality. He does this in accordance to the relation of perceptionimages to the plane of immanence. Especially through the analysis of Vertovs cinema in his three analysis of perception-images, Deleuze insists that cinematic perception-images are superior to human perception. The reason is because cinematic perception-images are arguably closer to the plane of immanence than human perception