- all characters fictitious disclaimer origin -

"Rasputin and the Empress" is a 1932. film about Imperial Russia, based on historical events involving charismatic orthodox priest Rasputin and his influence on court of Romanov. The film's inaccurate portrayal of Prince Felix and Irina Yusupov as Prince Chegodieff and Princess Natasha caused a major lawsuit against MGM.

The model for Princess Natasha was Princess Irina Romanoff Youssoupoff, the wife of Felix Yusupov, one of Grigori Rasputin's actual murderers. Yusupov filed a lawsuit against MGM in 1933, claiming invasion of privacy and libel. The film portrays her as a victim of Rasputin, and it is implied that he raped her, which never happened. She won an award of $127,373 in an English court and an out-of-court settlement with MGM, reportedly of $250,000, in New York. 

The familiar disclaimer "This motion picture is a work of fiction..." in the credits of every Hollywood film is a result of the lawsuit.

- all characters are fictitious -

“The standard disclaimer in a novel ("characters in this text are a fiction, every resemblance with the real life characters is purely contingent") holds also for the participants of the reality soaps: what we see there are fictional characters, even if they play themselves for the real.” Zizek

- the imaginary, the symbolic, the real -

1. The Imaginary: the gaze, the fantasy, the mirror, ideal-ego and ego-ideal.
2. The Symbolic: signifiers, codes, language, law.
3. The Real: the unsymbolisable, the gap in representation.

The Real, for Lacan, is not synonymous with reality. Not only opposed to the Imaginary, the Real is also exterior to the Symbolic. Unlike the latter, which is constituted in terms of oppositions (i.e. presence/absence), "there is no absence in the Real." Whereas the Symbolic opposition "presence/absence" implies the possibility that something may be missing from the Symbolic, "the Real is always in its place." If the Symbolic is a set of differentiated elements (signifiers), the Real in itself is undifferentiated—it bears no fissure. The Symbolic introduces "a cut in the real" in the process of signification: "it is the world of words that creates the world of things—things originally confused in the 'here and now' of the all in the process of coming into being." The Real is that which is outside language and that resists symbolization absolutely. In Seminar XI Lacan defines the Real as "the impossible" because it is impossible to imagine, impossible to integrate into the Symbolic, and impossible to attain. It is this resistance to symbolization that lends the Real its traumatic quality. 

- character and crisis of action image -

"Philosophers have hitherto only interpreted the world in various ways; the point is to change it."

Karl Marx eleventh thesis on Feuerbach from 1845. which putts practice in front of the theory proves that Marx would have liked action films instead of films with long dialogues. This is the thought that scares me.

140 years later Deleuze says: “We hardly believe any longer that a global situation can give rise to an action which is capable of modifying it – no more than we believe that an action can force a situation to disclose itself, even partially”.
In his books about film "Cinéma I: L'image-mouvement (1983)" and "Cinéma II: L'image-temps (1985)", Gilles Deleuze concludes that: "We must think “beyond movement”..."think about The Time-Image".

Time image is, thus, definitely an idea that reflects the doubts about the possibilities of changing the world. Deleuze loved much more Antonioni's films than american or Hong Kong action movies. Ideology and philosophy can, therefore, depend, sometimes, on particular philosopher's or politician's taste in movies. 

11th thesis

- film character and action-image -

Gilles Deleuze, in his taxonomy of cinema, describes cinematic realism as the action-image. Realism, or action-images in general, express the way in which situations and character behaviours inter-relate in specific ways. On the one hand, situations can spiral down to be embodied by characters that, through their actions, effect the situation. Alternatively, actions can gradually reveal a situation, each disclosure provoking new actions. The most distinctive, or familiar, sign of the action-image is the binomial. Here we encounter the duel. The duel-film proceeds by two dominant lines of force embodied in the characters. These duels may be violent or romantic, and it matters not which side of the binary emerges triumphant, whether the duel ends in victory or disappointment. Rather, it is the process that describes the action-image. This process is organised, again, in general, by alternate parallel montage that converges two lines of force emerging from the situation (S) towards a central, final and privileged duel (A).

The binomial, then, as a sign of the action-image, of realism, is the mechanism of much popular cinema. However, the binomial is a tendency that is presupposed, or presupposes, a situation. In other words the binomial emerges from a determinate space-time, the milieu. While the binomial is more interested in action-in-and-for, the milieu describes, as Deleuze puts it, ‘determinate, geographical, historical and social space-times’. 

- character and action -

"Fotodinamismo will render actions visible, more effectively than is now today possible with actions traced from one point, but at the same time keeping them related to the time in which they were made..." (Anton Giulio Bragaglia)