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In the early the 80's, the philosopher Gilles Deleuze applied the Bergson's theory of image exposed on Matter and Memory (1986) to the cinematic image, with the intend to develop new conceptual tools that, through an analysis of the History of Cinema, allow delineate better both, the cognitive relation beyond the subject-object budgets, and a theory of pre- verbal communication non phonetically structured which definitively exceeded the lacanian conception of the language. While such analyzes can be understood as the establishment of alternative principles of the Vertov and Eisenstein film editing theories, the primary interest in our paper will focus on the space-temporary categories redefinition that Deleuze's theory of cinema involves and which implies an exhaustive redefinition of the chronology space-temporary categories defined in the XV century by creation of perspective by renaissance painters and architects.

El tiempo cinematográfico: un análisis de los fundamentos óntico-temporales de la semiótica pre-verbal en la obra de Gilles Deleuze