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Godard the Historiographer: From Histoires du cinema to the Beaubourg Exhibition
Stockholm University, Faculty of Humanities, Department of Media Studies.
2014 (English)In: A Companion to Jean-Luc Godard / [ed] Tom Conley, T. Jefferson Kline, Chichester: Wiley-Blackwell, 2014, 488-503 p.Chapter in book (Refereed)
Abstract [en]

For Godard, cinema is montage, and montage is a technique for articulating the past. As Godard claims in his eight-piece video project Histoire(s) du cinéma only montage can produce historical connections because history is always a matter of juxtaposing one thing with another. Even if there are affinities with Godard's concept of history in the idea of the return of the past itself in projection, Matuszewski does not describe cinema as montage. It has been noted how Godard's technique of quotation depends on a Romantic concept of the fragment, where the part entails the work in its totality. These are key observations for reading Godard's work with quotations and excerpts. With this focus on historical ruptures, there is, therefore, a strong element of periodization in Godard's films and writings. Through montage, cinema can approach movements, ideas, and usages without immobilizing them in their established explanations.

Place, publisher, year, edition, pages
Chichester: Wiley-Blackwell, 2014. 488-503 p.
Series
Wiley-Blackwell Companions to Film Directors, 10
Keyword [en]
Godard, History, Archaeology, Montage, Shoah
National Category
Arts Studies on Film
Research subject
Cinema Studies
Identifiers
URN: urn:nbn:se:su:diva-112268DOI: 10.1002/9781118586815.ch30ISI: 000351675700031ISBN: 978-1-118-58681-5 (print)ISBN: 978-0-470-65926-7 (print)OAI: oai:DiVA.org:su-112268DiVA: diva2:778593
Available from: 2015-01-11 Created: 2015-01-11 Last updated: 2015-06-15Bibliographically approved

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