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14. Consider again what an active human presence does to the world of material objects. The human body is the locus of sensory-motor circuits that take in information from the outside world, transmit that information through the nervous system to the brain where a gap is introduced in which a free choice of action is made, and finally transmit that choice to the motor circuits (the muscle groups) responsible for carrying out the action. Since the ability of the body to act on the world is what is significant here, only that sensory information relevant to action makes it through to the brain. Thus the material world is selectively filtered in the form of a perception- image, the first variety of the normal motion-image. In cinema, the perception-image is usually the topic of a distance shot in which the camera takes in the visual information relevant to the action about to unfold.
15. The perception-image is the basis of action. But before the body acts, it has an experience of “virtual action.” In order to decide between different courses of action, it sketches out these alterative possibilities as nascent movements, activations of nervous and muscular events that remain contained within the envelope of the body (think of a runner considering stealing second base, and feeling the nascent movements involved in that process before actually running.) The experience of nascent movement as contained within the envelope of the body is what Deleuze calls the affection-image. In cinema, the affection-image is usually the theme of the close–up, especially the close–up of the face. The face is almost completely dedicated to sensation rather than action. Because of its sensory dedication, the movements of facial muscles are especially subtle and self- referential; they register affectiveexpression (emotions) more saliently than any other part of the body. The face and the close–up that focuses on it in film are the paramount vehicles of the affection-image.
3. Deleuze tells us that Dreyer’s film, The Passion of Joan of Arc, is the “affective film par excellence” (Cinema 1, 106). Comment on the way Dreyer’s close-ups of faces constitute what Deleuze calls “affection-images.”
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