For Deleuze, sensation is the difference brought about by the conscious perception of its own transcendence of subjectivity, possessing three forms of movement: vibration, forced movement, and resonance. In cinema, when the sensory symbol completes its transcendence of the chain of perceptual movement, these three forms of movement appear in arbitrary space, purely audio-visual situations, and crystalline states. At this moment, cinema no longer pursues the perfection of perceptual awareness, but rather stresses the pure power that exists in time, movement, and rhythm and cannot be precisely perceived that results from the encounter between subject and object that exist outside of any form of cognition or common sense. This force enables cinema to escape from mechanical reproduction while acquiring a pure authenticity that transcends image and representation as well as a distinct vitality.

Tian Chengyu. Deleuze's sensory aesthetics and film art. Frontiers in Art Research (2024) Vol. 6, Issue 1: 7-12. https://doi.org/10.25236/FAR.2024.060102.

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