The self becomes able to remain as the self only when it resists being sympathized by the other because the self has a surplus of vision whenever it looks at the other. As far as the self struggles between accepting this surplus of vision or forsaking it to be sympathized by the other, the self can break the border of itself and depart from the circle of being. Discussions of the idea that occurs from outside of relatum stresses upon the inevitability of change can also indirectly explain how sequences function as fields of resonance. Blurriness as a film technique lowers tension, enforcing an object to be definitive in sequences. Denying the stable status of objects, the technique of blurriness promotes the sequences to be flexible by creating the affection involved in a relaxed structure of a narrative. The potency of the statement refers to ideas from general linguistics, and the semiotics of film, enabling us to understand the totality of sequences. While investigating image-based sequences and the relationships with languages, the notions of a ‘situation of statement’ and the ‘potency of statement’ are deduced. Potency of statement does not have such a purpose as establishing certain explicable, linguistic characteristics. Language becomes a condition of reality itself when it is uttered, and it certainly has no potency or possibilities. On the other hand, because image-based sequences are territories which do not signify through double articulation, reflecting on the potency of statement as a condition of sequences is therefore all about understanding the potency of moving image sequences as non-linguistic pure materials.