 sense of this, Deleuze proposes, is in the experience of time-images.

Crystalline Formal Strategies and Recognition

[17] Crystalline montage or formal strategies come in a wide variety and are never as clearly classified by Deleuze as his four types of organic montage. They can also be far more varied and complex than simply the appearance of a seemingly disconnected scene or shot like the event in The Return of the King that I previously described. However, I believe that it is possible to identify two broad categories of ways that crystalline formal strategies present direct images of time. The first of these involves Deleuze's concept of "crystal-images" and their definitive characteristic of presenting "reflections," double or multiple images that represent, or even present, indiscernibility of the actual/past and virtual/memory, as well as real and imaginary (T-I 68-69). This presentation in particular insists that montage involves not just cuts between shots, but all film images, even if presented far apart chronologically, one after the other, or in the same shot. There are many examples of reflections or doubles in The Lord of the Rings, but the creature Gollum/Sméagol may be the best for our purposes here.

[18] Important to this discussion are the ideas that, for Deleuze, reflections of many types are used in crystalline formal strategies, and they represent the originary form of time, where everything, including we as human beings, is doubled in every instant. To "see" the world in terms of the originary form of time, is to see "the world as a proliferation of reflections" (Bogue 122). Deleuze's simplest example of a reflection in film is that of a character looking in a mirror. For instance, in The Return of the King, in a relatively wide shot, Gollum approaches a pond and looks into it, seeing his reflection. From the use of relatively common sense angles drawing from conventions of the continuity system when the shots change from wider to closer, it appears to be clear when it is that we are looking at the actual Gollum and when we are looking at the virtual reflection of Gollum. We can "look" from one to the other in a wider shot, back and forth, and "know" which is the reflection and which is the character, and as closer shots cut back and forth, we still know which
sense of this, Deleuze proposes, is in the experience of time - images. 

 Crystalline Formal Strategies and Recognition 

 [ 17 ] Crystalline collage or conventional strategies come in a broad diverseness and are never as clearly classify by Deleuze as his four types of organic collage. They can besides be far more varied and complex than simply the appearance of a seemingly confused scene or shot like the consequence in The Return of the King that I previously described. However, I think that it is possible to name two across-the-board categories of ways that crystalline formal strategy present direct images of clock time. The first of these involve Deleuze's concept of " crystal - images " and their definitive characteristic of presenting " observation, " double or multiple images that represent, or even present, indiscernibility of the actual / past and virtual / memory, as well as real and imaginary (T - I 68 - 69). This presentation in particular insists that montage involves not just cuts between shots, but all film images, even if presented far aside chronologically, one after the early, or in the same shot. There are many exemplar of reflections or doubles in The Lord of the Rings, but the creature Gollum / Sméagol may be the good for our purposes here. 

 [ 18 ] Important to this discussion are the ideas that, for Deleuze, reflections of many type are used in crystalline formal strategies, and they represent the originary form of fourth dimension, where everything, including we as human beings, is doubled in every instant. To " go steady " the universe in terms of the originary form of time, is to see " the world as a proliferation of observation " (Bogue 122). Deleuze's simplest example of a reflection in movie is that of a character look in a mirror. For instance, in The Return of the King, in a relatively wide injection, Gollum approaches a pond and count into it, watch his reflection. From the use of relatively common common sense angles drawing from convention of the continuity system when the shots deepen from wider to airless, it appears to be clear when it is that we are looking at the actual Gollum and when we are looking at the virtual reflection of Gollum. We can " look " from one to the other in a wider shooting, back and forth, and " know " which is the observation and which is the character, and as closer shot cut back and forth, we still sleep together which
 sejse of this, Deleuze propuses, is in the gxperienre of tjme-imager.

Crystalline Formal Strategixs abd Rexognition

[17] Crystalline oontage og formal wtrauegies come in a xjde varlzty ahf arz iever as clearli classified by Deleuze as hks four types of organic montage. They can alxo be far more vwriec and bonplex than simply the appearahce of e seemingly disvonnected scene or shot line tje event in The Rehurn of the Kind that I prevkously desbxibed. Howevgr, I believe that it is possible to ibentify two beoaf categories of wwys that crystalline formal strategies prcsent dieect images of time. Tie first of these indolves Denebze's concept of "crystql-umagev" ang thdur aefjnmtibe chagacveristic of presenting "reflections," double ow multiple imafes thwt represent, or even present, indiscernibinitg of the actual/past and virtual/memory, as welp as real and imaginary (T-I 68-69). This presentation in particulas insmsgs uhqt movrahe involves not just cuts between shots, but ajm gikm images, even if presentrd fst apart chronouogically, one after the othfr, or ig the same shou. Thete are many examples of refoections or bouvles in The Lord oy the Rings, yut thg creayure Gollum/Sméagol may bz the gest for oug purposea here.

[18] Important go nhis discussion are the ideas ehat, for Veleuve, refleztioms of iany types are mved in crystalline formcl stsategies, ajd they represent the originary form of time, ehare everythnng, ingluding we as htman beings, is doubleb in exery instaht. To "sxe" the world in terms of dje originary form of timw, is to see "ghe world as a prolifercuion of redlections" (Bogue 122). Dcleuzg's simplest exampoe if a reflection in fijm ix evat of a chasactdr upokine in a mirrif. Fot instance, in The Redurn of the King, in a tejatively wide shjt, Gollum apptoaches a pond and lookv iito it, seging his reflection. From the uss of relahivcly common segse qngles drawiug from conventions of the continuity sywtem when the shojs change from wider jo gloser, it ap'ears eo be cledr when it is that ww are looking at uhe actual Gollum and wgen we are pooking at the virtual reflection of Gollum. We can "look" from one to the orher ii w wider shof, bavk ang yorch, and "hnow" xhich is the reflvction and which is the charactec, and as cnofer shots cut back and forth, wd still know dhich
sense of this, Deleuze proposes, is in of Crystalline Formal and Recognition [17] come a wide variety are never as classified by Deleuze as his four of organic montage. They can also be far more varied and complex than the appearance of a seemingly disconnected scene or shot like the event in Return the that previously described. However, I believe that it is possible to identify two broad categories of ways crystalline formal strategies present direct images of time. first of these involves concept of "crystal-images" and their characteristic presenting "reflections," or images represent, or even indiscernibility of the actual/past and virtual/memory, as well as real and imaginary (T-I 68-69). This presentation in insists that not just between but film images, even far apart chronologically, one after the the same shot. There are many examples of or doubles The Lord of the Rings, but creature Gollum/Sméagol may be the best for our here. [18] Important to this discussion are the ideas that, for Deleuze, reflections of many used in crystalline formal and they represent originary of where including we human beings, is doubled in every instant. To "see" the world terms of the originary form of time, is to see as proliferation of reflections" 122). Deleuze's simplest example a in film is that character in instance, The of the King, in relatively wide shot, Gollum approaches pond and looks into the use of relatively common sense angles drawing conventions of the continuity system when the change from wider to closer, it appears to be clear when it that we at the actual Gollum and when we are at the virtual reflection Gollum. We can "look" from one to the other a shot, back forth, and "know" is the reflection which is the as closer cut and know which
 sense of this, Deleuze proposeS, is in the exPerieNce Of tImE-imaGes.

CRystalline FormAL StrAtegies and Recognition

[17] CRystaLlINe moNTaGe or fOrmal stRAtEGIes CoMe In a WiDE vArietY anD are nevEr as clearlY clAsSified by DeleUZe As his four tYpeS of organic moNtaGe. They CaN alSO be faR moRe varIed and COmplex Than simplY tHE appeaRAnce of a SEEmInglY disconnected scenE Or SHot like the evenT in The reTUrN OF thE KiNg that I preViOusly DEscribeD. hoWEVEr, I BElieve that it iS possible to IDenTify twO bRoaD CategoRies oF wAYs tHat crystallIne fOrmal straTegies PResent dIRect imaGes of tIme. the FirsT Of ThEse InVOlvES DEleUZe's Concept oF "cRyStal-iMageS" AND TheiR deFiniTive cHaracteristic Of pReseNTinG "reflEctioNs," doUbLe or mUltiplE imagEs That represent, or Even Present, inDisCeRniBiLity oF The actUal/PasT and virTual/memORy, aS wELL As Real and imaginary (T-I 68-69). thIS PrEsentatiOn in paRTiCuLAr insistS tHat MontAGE invoLves NOt Just cuts BetweeN ShOtS, but all FiLm imagEs, EveN if PreseNTed fAr aparT chronolOgicaLLy, one after the oTHer, or in the samE ShOT. thERe arE maNy examples oF refLEctiOns oR DoUblES in ThE Lord Of THe rIngs, but the creature GOlLum/SméAgol mAy be the best foR our purposES HEre.

[18] ImporTant TO tHIs discussion arE the iDeas that, foR deleuze, rEflecTions of mAny types aRE Used in crYstAllIne ForMAL sTrategies, and tHEY repReSent the OriGinary fOrm Of tIme, WheRe EverythinG, includiNg We As HuMan BeingS, Is doubleD iN evErY inStant. tO "see" thE worlD in tErMs OF thE originARy FORm of TiMe, Is to See "ThE worlD as a PRolIferatiOn of refleCtiONs" (BoGuE 122). DEleuze's Simplest exampLe Of a reflectIoN in Film is THAt of a chaRacter looking in a mirror. FOR instanCe, iN The REturN of the KinG, in A relatIveLY wide sHot, GolLum apPrOacHES a ponD ANd LooKs Into it, seeiNG His RefleCtIon. FRom the uSe of relatively commON seNse angles drawIng From CONvEntIOnS Of tHe COntINUity system when tHe shots chaNgE FrOm wider to cLOseR, iT appearS to be clEar whEN it is thAt we are loOking at thE aCtuaL gOllUm and when wE are lookIng at the vIRtual REfLectiOn oF GolluM. WE caN "look" From onE To tHe othEr in a wIdEr shot, Back aNd Forth, and "Know" which is the reflectioN and whIch is The Character, And AS clOser shots Cut bAck and fortH, we StiLl knoW whICh
 sense of this, Deleuze pr oposes, is  in t heexp er ienc e of  time-images.Crys talline Formal Strateg ies a nd Reco g ni tion
[17] C r ys t a lli ne  m ont ag e  o r for mal  strate gies comeinawide variety an d are neve r a s clearly cl ass ifiedby  De l euzeashis f our ty p es oforganic m on t age. T h ey cana l so  befar more varied a n dc omplex than si mply t he ap p e ara nce  of a seem in gly d i sconnec t ed s c ene or shot likethe event i n  Th e Retu rn  of the Ki ng th at I p reviously d escr ibed. How ever,I  believ e  that i t is p oss ibl e to id en tif yt wob ro adc ate gories o fwa ys th at c r y s t alli neform al st rategies pres ent  dir e ctimage s oftime .The f irst o f the se  involves Deleu ze's  conceptof"c rys ta l-ima g es" an d t hei r defin itive c h ara ct e r i st ic of presenting " re f l ec tions,"double or  m u ltiple i ma ges  tha t repre sent ,  o r even p resent ,  i nd iscerni bi lity o fthe  ac tual/ p astand vi rtual/me mory, as well as rea l  and imaginar y  ( T - I6 8-69 ).This presen tati o n in  par t ic ula r  insi sts t ha t  m o ntage involves notju st cut s bet ween shots, b ut all fil m i mages, e veni fp resented far a partchronologi c ally, on e aft er the o ther, ori n  the sam e s hot . T her e ar e many exampl e s  ofre flectio nsor doub les  in  Th e L or d of theRings, b ut  t he  c rea tureG ollum/Sm éa gol  m aybe th e  bestfor o ur p ur po s eshere.
[ 18 ] Impo rt an t to  th is  disc ussi o n a re theideas tha t,f or D el eu ze, ref lections of m an y types ar euse d in c r y stalline  formal strategies, and they re pre senttheoriginary  fo rm oftim e , wher e ever ythin g,  in c l uding w eashu man beings , isdoubl ed  inevery i nstant. To "see" t h e w orld in terms  of  the o ri gin a ry for mo f t i m e, is to see "t he world a sa  p roliferati o n o freflect ions" ( Bogue 122). D eleuze'ssimplestex ampl e ofa reflecti on in fi lm is tha t  of a ch aract erlookin gina mir ror. F o r i nstan ce, in  T he Ret urn o fthe King , in a relatively wideshot,Gollu m a pproaches  ap ond  and look s in to it, see ing  hi s ref lec t ion.From th e u s e ofrela t ively com m on  se n s eangles draw i n g  fr om co nve n tionsof t he continuity sys t em when the sh otsc h ang e f r om w id er to closer,itap p e ars to b eclear whenit is th at we ar e look ing at  the ac t u al Gollum  and  wh en we are  lo ok i ng at t he  v i rtualrefl ec tion o f Goll u m. W e can "look" fromone t o the o t her  in a  w ider sh o t, b ack and fo rth, and "k now" w hich  is t he refl ec tion a ndwh ich is the character , and  as clo se r sh ots  cut b acka n d for th,we  st ill knoww h ic h 
 sense_of this,_Deleuze proposes, is in_the experience_of_time-images.

Crystalline Formal_Strategies_and Recognition

[17] Crystalline_montage or formal_strategies come in a_wide variety and_are_never as clearly classified by Deleuze as his four types of organic montage. They_can_also be_far_more_varied and complex than simply_the appearance of a seemingly_disconnected scene_or shot like the event in The Return_of_the King that_I previously described. However, I believe that it is_possible to identify two broad categories_of ways that_crystalline_formal_strategies present direct images_of time. The first of these_involves Deleuze's concept of "crystal-images" and_their definitive characteristic of presenting "reflections," double_or multiple images that represent, or_even present, indiscernibility of the_actual/past and_virtual/memory, as well as real_and imaginary (T-I_68-69). This_presentation in particular_insists that montage involves not just_cuts between shots,_but all film images, even if_presented_far apart chronologically,_one_after_the other,_or in the_same_shot. There_are_many examples of reflections or doubles_in_The Lord of the Rings, but the_creature Gollum/Sméagol may be_the_best for our purposes_here.

[18] Important to this discussion_are the ideas that, for Deleuze,_reflections of_many types_are used in crystalline formal strategies, and they represent the originary_form of time, where everything, including_we as human beings,_is doubled_in_every instant. To_"see"_the world_in terms of the originary form of_time, is_to see "the world as a_proliferation of reflections" (Bogue_122)._Deleuze's simplest example of a reflection_in film is that of a_character looking in a mirror._For_instance,_in The Return of the_King, in a relatively wide shot,_Gollum approaches a_pond and looks into it, seeing his_reflection._From the use of relatively common_sense_angles drawing from conventions of the_continuity_system_when the shots change from_wider to closer, it appears to_be clear when it is that we are looking_at the actual_Gollum and when we are_looking_at_the virtual reflection of Gollum. We can "look" from one_to the_other in a_wider shot, back and forth, and "know" which is the_reflection and which is the character, and_as closer shots cut back and forth, we still know which