Godard essayist, Godard curator
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Abstract
The films of Jean-Luc Godard, because of their reflexive nature, gain an essayistic and curatorial character. It is not so much about producing images as it is about thinking about images and selecting images. In his Histoire(s) du cinéma and in other cases, the images are not even filmed by him. They are edited. This poses the challenge of relating images to each other and citing them, as Georges Didi-Huberman pointed out in Passés cites par J.L.G. The article characterizes the form through which Godard responds to this challenge, pointing out how it embodies ideas of critic Walter Benjamin on history and writer André Malraux on museum.
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