Near the end of his writings on the cinema  Gilles Deleuze almost regresses from his intellectual rigour over the new cinema of time, and mourns the passing of the silent cinema. He saw that, with the emergence of the talkie, we lost 'a kind of naturalness . . . the secret and beauty of the silent image' (TI:225), which presented us with 'the natural being of man in history or society' (TI:226). Yet, while in the talkie speech recovers 'discourse' (whose dead-end is filmed dialogue), leaving the images of film almost forgotten, with sound was brought a new dimension in the denaturalised image, readable 'like a musical score' (TI:235). This is the speed with which Deleuze moves from the love of one cinema, to the excited anticipation of its advancement, and even replacement. Here, in his book _Cinema_, moving through a very personal history of the cinema, we can see an example of the pull of his writing, and the radically cinematic way that he watches and reads film. As Keith Reader has noted, 'Deleuze gazes from a place very different to that learned by most of us'.