4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 1/16

FilmPhilosophyJournal|Salon|Portal(ISSN14664615)

Vol.6No.30,September2002

MarciaLandy

Godard:ThinkingMedia

DavidSterritt

_TheFilmsofJeanLucGodard:SeeingtheInvisible_

Cambridge:CambridgeUniversityPress,1999

ISBN0521580382(hb)0521589711(pb)

297pp.

JeanLucGodardisnotasuperannuatedandhistoricalrelictobeconsignedtothepagesofcinemahistory.Infact,asMichaelTempleandJamesS.Williamsrecentlynoted,'therealJeanLucGodardhasneverstoppedworkingandhaspatientlyelaboratedabodyofworkthatistrulyrichandstrange,andasambitious,diverseandinspiringasanythingheproducedinhissupposed1960sheyday'.[1]Hisprodigiousproductivityandthegrowinginterestinhisworkcanbeaccountedforbythephilosophicalsubjectsunderhisattention:

'autobiographyandmemoryinfilmageandmelancholiatwentiethcenturyhistoryandhistoriographythefateofEuropeanartandculturetherelationbetweenaestheticsandidentityethicsandphilosophythenatureandstatusofauthorshipandliteraturetheevolutionofthevisualimagefrom

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 2/16

paintingtofilmandvideospeedandtechnologyandvideographicmontageasanewpoetics'.[2]

ThisextensivelistisadauntingchallengetoanycriticwhowouldundertakeanexaminationofGodard'sessaysandfilmsevenareviewofthebooksandarticleswrittenabouthim.Perhapstheonlywaytoaddresstheseconcernsistosubsumetheminthecontextofarelationshipbetweenmedia,philosophy,andpolitics.Increasingly,filmcriticshavepushedtheboundariesoffilmanalysistoexploretheserelationships,andDavidSterritt's_TheFilmsofJeanLucGodardSeeingtheInvisible_,intheCambridgeFilmClassicsseries,isaninstanceofarecentattempttosituateGodard'sworkonmediawithinabroaderphilosophical,ifnotpoliticalmilieu.ThePrefacetoSterritt'sbookdescribesthetextspublishedintheseriesas'aforumforrevisioniststudiesoftheclassicworksofthecinematiccanonfromtheperspectiveofthenewauteurism,whichrecognizesthatfilmsemergefromacomplexinteractionofbureaucratic,technological,intellectual,cultural,andpersonalforces'.Sterritt'sstudyofGodardfocusesparticularlyontheintellectual,cultural,andpersonalforcesthatcharacterizethefilmmaker'streatmentofmedia.

ThroughanintroductorychapterthatmapsGodard'sphilosophicinvestmentsinmedia,followedbyacloseexaminationofsixfilmsthreefromthe1960s:_Breathless_(1960),_MyLifetoLive_(1962),and_Weekend_(1967)onefromeachofthesubsequentdecades:_Numerodeux_(1975),_HailMary_(1985),and_NouvelleVague_(1990)andendingwithabriefchapterontelevisionandmedia,SterrittorchestratesdominantaspectsofGodard'sfilmmaking.Whilethebookdoesnotpresentitselfasasystematicstudyofcontemporaryphilosophy,itdoesdescribethefilmsinformaltermssoastoenablethereadertosituateGodardwithinthecontextoftwentiethcenturyphilosophy,andparticularlyofcriticalworkonmedia.HavingwrittenonGodard'sworkrecently,withespecialfocusonthecharacterofthisfilmmakerasphilosopher,[3]IintendinthisreviewtoexamineSterritt'sassumptionthat,afterthe1960s,Godard'sfilmmaking'becamelessovertlyideological,replacingitspassionforpoliticalissueswithafocusonaestheticandspiritualmatters'(10).IthasbecomecustomarytoregardGodard'smorerecentfilmsfilmsasdepartingfromthepoliticsofthe60sandyet,tomywayofthinking,Godardhasnever

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 3/16

abandonedhisinvestigationofpolitics,thoughhisintellectualandstylisticstrategieshavebeenattunedtochangesinthepoliticalandculturallandscape.

Certainly,Godard,likemanyofhisradicalcontemporaries,retreatedfromthetraditionalconfrontationalcinepoliticsofthe1960stoexploremoredeeply,inwaysreminiscentofDeleuze'sandDerrida'swork,formsofthoughtandbeliefthatcanaccountforthepowerfulswayofcommonsense,andatthesametimepointthewaytojammingclichedresponsestorepresentation.Hispoliticshavenotceasedtobefocusedonmedia,buthisstrategiesaredirectedatphilosophicconcernsthatfocusonthenecessity,yetimpossibility,ofrestoringbeliefintheworldandinthepeopletocome.Thus,politicsisnotreliantonpreexistingconceptionsofthepeople'asidenticalwiththeineluctableunfoldingofhistory',asD.N.Rodowickputit.[4]Infact,thetaskofadifferentpoliticsisnowtoseekdifferentconceptionsofthepeople,orbetteryettobringthemintoexistence.Towardthatendnewtoolsofthoughtarenecessary,andreflectiononthenatureandimpactofmediaistheinstrumentforsuchanexploration.

WhatmakesGodard'smediaworkchallengingisitsincisivelycriticalpreoccupationwithhistory.Godardhasconsistentlychallengedreductive,programmed,andnaiveconceptionsandpracticesofmediathataretiedtotheintertwinedeconomicandideologicalforcesofcapital.Hisworkconfrontsthecomplexobstaclesinthewayofrecognizingmultivalentandnonreductiveconceptionsoftime,memory,andhistoryastheyareconveyedthroughmediarepresentation.Foremostamongtheseimpedimentsisthetendencytoregardrepresentationasidenticaltotruth.AsSterrittwritesinhisIntroduction:

'Godard'simportanceasacinematicrebelcomesnotfromhisreconfigurationsoffilmandvideoformperse,butfromthewayhisdissectionsandreshufflingsinteractwiththesubjectshechoosestoexplore.Oneofthesesubjectsisalwayscinemaitselftheotherschangeashemovesfromonestagetoanother.Whatremainsconsistent,however,ishisdeepseateddesiretorefutetwoideastakenforgrantedbythevastmajorityoffilmmakers:a)thatcinemacapturesa'direct'andsomehow'natural'viewoftheworldandthatb)cinema'sstandard

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 4/16

psychologicaldevicesaresomehowequivalentwith*humannature*andthusprovideaccuratecommonsensicalinsightsthatcanbeacceptedandenjoyedatfacevalue.'(2021)

Incareful,detailed,andsensitiveanalysisofGodard'sfilms,SterrittprobesthephilosophicandaestheticimplicationsofGodard'srelentlessexplorationofthecinematicimageasamediumforcommonsense,andasapossibilityforjammingautomaticresponsestorepresentationsoastoallowforthepossibilityofthought.Sterrittsuggests(asintheabovequotationandinthechronologicalchoiceoffilms)thatGodardhasmovedfrom'onestagetoanother'.Throughdetailedanalysisofeachfilm,Sterrittseekstoidentifytransformationsthathavecharacterizedthesevarious'stages'ofGodard'sworks.Incontrast,IbelievethatGodardhasbeenobsessed,albeitinchangingfashionfromhisfirsttohismostrecentfilms,withquestionsconcerningthepossibilityofcinemaforthinkingonquestionsofcultureandpoliticsastheyareimbricatedinquestionsofhistory,memory,fiction,truth,language,painting,andmusic.Currentculturalandpoliticalanalystshavereconceptualizedtheeconomicandpoliticalcharacterofthelastdecadesofthe20thcenturyundertherubricof*postmodernism*and*globality*.AndGodard,throughhisencyclopaedicknowledgeofmediaanditshistory,andhisconsistentsituatingofculturalproductionwithininternationaleconomicandideologicalcontexts,haspursuedhiscinepoliticalexplorationsoftheimageintothelairsoflatecapitalism.In_TheGeopoliticalAesthetic_FredricJamesonhasidentifiedtheparticularly'global'natureofGodard'smorerecentwork,especially_Passion_(1982).Jamesonwrites:

'Godard'sstrategyistoposethestrongestpossibleobjectiontothemediumtoforegrounditsmosturgentcrises,beginningwiththatoffinancingitself,omnipresentintheselatefilmsandaboveallhereinorderthemoretriumphantlytosurmountthem.'[5]

SeekingtosituatethephilosophicsourcesofGodard'sworkinandoncinema,Sterrittyokesthefilmmaker'snametothatofMichelFoucault,andtoFoucault'sconcernwith'power/knowledgerelationships',andwrites:

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 5/16

'Ifknowledgeandpowerarecloselyintertwined,asFoucaultcontendsandifcinemareplicatesinformationandideaswithunprecedentedefficiency,asGodardcontends,thennoethicalfilmmakercouldmaintainaclearconsciencewithoutkeepingacriticaleyeontheimpactmadebycinematicworksespeciallythefilmmaker'sownontheworldinwhichthey'reunleashed.'(21)

Thus,Sterrittargues,Godard'scriticaleyeisfocusedonthestrategiesofcinemaasitpresentstransparentandseeminglyaccuraterepresentationsoftheworld,seekingrelentlesslytoexposethestratagemsoftheprisonhouseoflanguage,makingevidentdifferentpossibilities'sorealrethinkingandrenewalcanbegin'(26).

SterrittanalyzeseachofthesixfilmshehaschosentodiscusswithaneyetoidentifyingthedifferentwaysinwhichGodard'scinecritiqueiselaborated.Forexample,inthediscussionof_Breathless_,hesinglesoutthewaysinwhichthefilmexplores'reconcilingpersonalwillwithexistenceinaworldthatisatonceintricatelysocial,profoundlysubjective,andutterlyirrationalinthelongrun'(51).StressingtheimportanceofplaceenablesGodardtoproberelationsbetweencharacterandenvironmentahomagetoanabidinghistoricalfigureinGodard'sfilms:RobertoRossellini.Equallyimportant,notonlyto_Breathless_butalsotolaterfilms,aretheways(beyondmerequotation)thatthefilmexploresanddeepenstheproblematicrelationsbetweenfictionandfactandevenmorebetweenpoliticsandaesthetics.Sterrittregardstherelationbetweencharacterandactionandlandscapeascentraltothefilm,butthetraditionalconceptionofcharacterissubjecttodisintegration,examinedasaninvention,andthetaskistounderstandthetermsandconditionsoftheirconstruction.GodardpriesopenwhatDeleuzehascalledthe'movementimage'todescribetheworkingsofpreWorldWarIIcinema,withitsorganicviewoftheworld,andwhereaction,nottime,governedthenarrative.

Inthechapteron_MyLifetoLive_,throughhisinvocationofBertoltBrecht'swork,SterrittintroducesanotherdimensionofGodard'sfilmmaking,whatIwouldidentifyasGodard's

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 6/16

'pedagogical'conceptionofthecinematicimage.Thispedagogycan,inpart,betracedtothewritingsandtheaterofBrechtandhisconceptionofepictheater,exemplifiedbytheepisodicstyleof_MyLifetoLive_,itsorganizationintotwelvetableaux,aswellasitsheightenedandstylizedtheatricality.Sterrittfocusesonthevarioustableauxasameansofreinforcingthemotifinthefilmofvainandreductiveconceptionsofinteriority,authenticity,andaffect.Forexample,Sterrittwritesthat,

'Godardrecognizesthatexternalsareallthecameraandsoundrecordercangrasp,andthatsuchoutwardsignssuperficialbydefinitionmayseemsadlyinadequateifoneislookingforthe*innerselves*ofpsychologicallydefinedcharacters...Theexternalscapturedbycinemacanbehighlysuggestiveifoneacceptsthenotionthatinnerselvesareinseparablefromtheexternalactionsthattheytraceontheworldaroundthem.'(6566)

Thechapter,buildingonthepreviousone,extendsthediscussionofGodard'songoingandinterconnectedusesofmilieu,cinematicquotation,thefemale(andthecinematic)bodyandprostitution,andproblematicquestionsconcerningverbalandcinematiclanguage.Thefilm'spedagogyreliesonthevariousstrategiestocomplicateprevailingconceptionsoftruthandfalsehoodthataresubsumedinastrictdichotomybetweenrealismandartificeandneedtoberenderedmoreundecidable.Inhisphilosophicwritingsoncinema,GillesDeleuzeoffersinsightsintoGodard'spedagogicalconceptionofthecinematicimage.Deleuzewrotethat,afterWorldWarII:'Thecinemaisgoingtobecomeananalyticoftheimage,implyinganewconceptionofcutting,awhole*pedagogy*whichwilloperateindifferentways.'[6]Thispedagogyrequirescarefulattention.Itisnotapolemicoramethodforreading'truth'throughtheimage,sincetheimageis,inGodard'swords,'justanimage'.Godard'spedagogyinvolvesformalisminsofarasthespectatormustbecomeawareoftheimage,mustregardandunderstandtheimageasimage,andhenceasameansofrethinkinghowcinemareliesonperceptionandmemory.

Throughenhancingthepossibilityofmutualworkonthepartofthefilmmakerandthespectator,Godard'sfilmsseeks,throughmemoryandintelligence,tounveil'theuntruthoftruth'(toborrow

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 7/16

fromNietzsche)oftheimage.Deleuzewilldescribethisprocessasanencounterwiththe'powersofthefalse':

'Truthfulnarrationisdevelopedorganically,accordingtolegalconnectionsintimeandspaceandchronologicalrelationsintime.Ofcourse,theelsewheremaybeclosetothehere,andtheformertothepresent.Butthisvariabilityofplaceandmovementsdoesnotcalltherelationsandconnectionsintoquestion.Theyratherdetermineitstermsorelements,sothatnarrationimpliesaninquiryandtestimoniesthatconnectittothetrue...Falsifyingnarration,bycontrastfreesitselffromthissystem...Thepointisthattheelementsthemselvesareconstantlychangingwiththerelationsoftimeintowhichtheyenter,andthetermswiththeirconnections...Thepowerofthefalseexistsonlyfromtheperspectiveofaseriesofpowers,alwaysreferringtoeachotherandpassingintooneanother.Sothatinvestigators,witnessesandinnocentorguiltyheroeswillparticipateinthesamepowerofthefalsethedegreesofwhichtheywillembody,ateachstageofthenarration.Even*thetruthfulmanendsuprealizingthathehasneverstoppedlying*asNietzschesaid.'[7]

Inotherwords,Godard'sfilmsarenotdesignedtoproduceaninterpretationofthecorrectmeaningoftheimagesthatadduptoanimmutablesenseofthereal,oftruth,andofacomprehensibletotality.InGodard'swork,thefilmbecomesconceptual,thatis,itbecomesatheoryofcinemathatisalsoaphilosophy.This'theoryofcinema',

'isnot'about'cinema,butabouttheconceptsthatcinemagivesrisetoandwhicharethemselvesrelatedtootherconceptscorrespondingtootherpractices...Thegreatcinemaauthorsarelikethegreatpaintersorthegreatmusicians:itistheywhotalkaboutwhattheydo.Butintalkingtheybecomephilosophersortheoreticians...wemustnolongeraskourselves,'Whatiscinema?'but'Whatisphilosophy?'[8]

_Weekend_isafilmthatwouldseemtoposebothofthesequestions.Inrelationtothestatusofcinema,thefilm,forJamesRoyMacBean,equalsa'deadend','notforGodardandnotforcinema,butforaparticulartypeofcinemathecinemaof

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 8/16

spectacle&endashwhichispushedtoitslimit'butthefilmdoesnotrestrictitselftothe'death'ofcinema,butyokescinematictophilosophicconcernsinitsrelentlessexplorationof'thedisintegrationofcivilization'.[9]InvokingArtaud's'TheaterofCruelty'andBrecht's'DialecticalTheater',MacBeanexaminesGodard'smethodforconnectingandreconfiguringcinemaandphilosophy.Towardsimilarends,SterrittinvokesJuliaKristevaandBakhtintodescribetheclashofelementsthatcharacterizewhathedescribesas'Godard'sfilmmakingstrategy,wherebythevirtueoffreedomthatis,aliberatedcinemamustbebornfromaviolent,takenoprisonersassaulton*slavery*toclassicalstyleandconventionalnarrative'(106).Sterrittdescribesthefilm'sclimacticeruptionintocannibalismintermsofKristeva'snotionofabjectionandperhapsalsoofBakhtin'sconceptionofthecarnivalesque.ForGodard,therevolutionary'sdesireissimilartothebourgeois'stoassimilatetheinformationalandtechnologicalapparatusofAmericansocietyand,assuch,iscannibalistic.Thus,inthisfilm,Godardunderminesboththemediatedimagesofthebourgeoisie,aswellasoftherevolutionary,regardingeachasparticipatingindiscoursesthatmirroreachotheranddonotopenthewaytorethinkingcultureandpolitics.

Sterritt'sregards_Weekend_asportraying'acivilizationturnedupsidedownandinsideout,whereinlifeanddeath,beautyandhorror,realityandillusionbecomeheedlesslyconfoundedwiththeiropposites'(128).HisdescriptionofthefilmisreminiscentofDeleuze'sobservationsonthefilm(inachapterentitled'CinemaandThought').AccordingtoDeleuze:

'Theformulain_Weekend_,*it'snotblood,it'sred*,signifiesthatbloodhasceasedtobeaharmonicofred,andthatthisredistheuniquetoneofblood.Onemustspeakandshowliterally,orelsenotshowandspeakatall.If,accordingtoreadymadeformulas,therevolutionariesareatourdoors,besieginguslikecannibals,theymustbeshowninthescrubofSeineetOise,eatinghumanflesh.Ifbankersarekillers,schoolchildrenprisoners,photographerspimps,iftheworkersarebeingscrewedbytheirbosses,thishastobeshownnotto*metaphorized*.'[10]

Presenting_Numerodeux_asrepresentativeofGodard'sfilmmakingofthe1970s,Sterrittcontinueshisdiscussioninthe

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 9/16

contextofGodard'songoinginvestigationsoftheroleandfateofthecinematicimage.Sterrittselectsthisfilm,thefirstofmanyofGodard'ssucceedingcollaborationswithAnneMarieMieville,becauseitisa'complexexplorationoftherelationshipsbetweenmanandwoman,laborandleisure,domesticityandsociety,andperhapsaboveallfilmandvideo,mediathatencapsulatehis[Godard's]twinfascinationswiththeheritageofWesternartandthestilluncharteddirectionsinwhichitselectronicfuturemaylie'(38).ThefilmdoesnotsuggestthatGodardhasveeredawayfrompoliticalconcerns.However,itdoesrevealGodard'sawarenessofsociopoliticalandculturalchangesthatweretranspiringinthemid70s.Inparticular,mediaissues,particularlytheroleoftelevision,reportage,andinformationhadmovedtothefrontandcenterofsociallife,posingachallengetotraditionalconceptionsofconfrontationalpolitics.Moreover,theproliferationofnewmediaraisednewdespairaswellasnewhopeforculturaltransformation.OrchestratinganumberofmotifsinGodard'streatmentofcontemporaryculture,Sterrittassertsthat,

'_Numerodeux_aimstoanalyzeandcriticizeanumberofinterlockingphenomena:thehome,wherechildrenmustcopewithsuchdauntingexistentialchallengesastheprimalsceneandotherparentalmysteriestheeducationalsystem,whichillpreparesthemforpresentorfuturetaskstheindustrialworld,wherepeople'slivesarenottheirownthegovernmentwhichusesandabusesusandthemassmedia,includingthefilmandvideotechnologiesusedtomake_Numerodeux_itself.'(140)

CitingtheworkofGeorgesBatailleandhisconceptionofheterology,Sterrittstressesthisfilm'sunrelentingfocusonthetransgressionoffamiliarboundarieswhileatthesametimerevealingblockagestogratification.ReturningalsotoKristevaandherelaborationonabjectionanditsboundarylesscharacter,Sterrittsuggeststhat_Numerodeux_notonlyexploresandunderminesconventionalimagesofthebodybutalso'embodiestheambivalenceofayoungmedium(video)caughtwithinitsparentmedium(film)atpreciselythemomentwhenitsnewlyacquiredpowers,purposes,andsensibilitiesarereadytoassertthemselvesbutarestilluncertainastowhattheirowndistinctivenessandusefulnessmightbe'(145).IncreasinglyinhisworkwithMieville,Godardwillcontemplatethedeathofcinema,andcertainlyofnationalcinema,andwillstrivetolocate

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 10/16

possibilitiesinvideohowevertheabidingconcernwillbetochallengetheprevailingcharacterofrepresentation.

_HailMary_offersapowerfulinstanceofboththecontinuityofGodard'sintellectualconcernsandofthechangingformswithwhichhechoosestochallengecommonsenseversionsoftheworld.ThediscussionofthisfilmisthelongestinSterritt'svolumeashemeticulouslytracesthemultiplelinesofMievilleandGodard'sjointproject.Inexaminingthefilm'srecoursetosuchrecurrentimagesasthemouth,aswellasotherbodyopenings,Sterrittdeftlyidentifiesthetransmogrificationsthattakeplaceinthefilm,betweenthebodyandspirit,theindividualandthecosmos,interiorityandexteriority,andthesacredandtheprofane.However,asmightbeexpected,thefilmdoesnotpresenttheviewerwithtraditionalreligionorwithtraditionalcinema.Instead,asSterrittindicates,

'thewebofimagesisdifficulttoparse,butonecouldhardlyexpectittobeotherwise,since,afterall,theaimofthe_HailMary_filmsistoexploretheunshowableandunsayable,throughanartisticmediumthattakesshowing(picture,montage)andsaying(sound,narrative)asbasicprinciples.OnemustrememberthatmuchofGodard'scinema(especiallyhislaterwork)restsontheparadoxicalhypothesisthatourexistentialenvironmenthasadualnature.Ononelevel,itisamaterialrealmthatcanbeknownbythefivesensesandrecordedbycinematictechnologies.Onanotherlevel,itistheshadoworveilofaspiritualdimensionthatisimperceptibletooursensesandimpenetrabletoourconsciousthoughts.Attemptingtomanifesttheimmaterialthroughmaterial(filmic)devicescanleadonlytoeminentlyambiguousresults.'(217218)

Sterritt'sdescriptionoftherelationshipbetweentheseenandtheunseen,andofthemysteriouscharacterofthoughtinGodard'slaterfilms,isechoedbyLaetitiaFieschiVivetinherdiscussionofanotherGodardfilm,_OhWoeIsMe_(_Helaspourmoi_,1993).InparticularwithreferencetoGodard'sattitudestowardhistory,shecommentsthat:'thereasonwhythereissomethinghinderingthepowerofsightinthefilmisbecauseitisimpossibleforthehistoricalapproachtoprovideacompletevisionofthepast'moreover,'theinvisiblesomethingcanbesaidtoacquireavirtualbodybutonlythankstoelementsthatremainobscureand

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 11/16

unknown'.[11]AparticularmotifthathashauntedallofGodard'sworkisthequestionofmemory,amotifintimatelytiedtohisresistancetocommonsenseandclicheandtohisattemptstorethinkthecharacterofhistory.

ThispreoccupationwithmemoryinGodard'sfilmshasanantecedentinthehistoryofthenouvellevaguefilmmakersandcritics.ItisinpartderivedfromBazinandthe_Cahiersducinema_groupinsofarasthey,likeRobertoRossellini,regardedtheexperienceofcinemaas'moreprofoundthanmereunderstanding'.[12]AswithBazin'swritingsoncinema,Godard'sfilmspastandpresenthaveanaffinitywithHenriBergson'sdistinction(inrelationtomemory)betweentwokindsofrecognition:automatic,andhabitualorattentive.Ofthisdistinction,Bergsonwrote:

'iftheideaistolive,itmusttouchrealityonsomeside,thatistosay,itmustbeable,fromsteptostep,andbyprogressivediminutionsorcontractionsofitself,tobemoreorlessactedbythebodyatthesametimethatitisthoughtbythemind.Ourbody,withthesensationsitreceivesontheonehand,isthen,thatwhichfixesourmind,andgivesitballastandpoise.Theactivityofthemindgoesfarbeyondthemassofaccumulatedmemories,asthismassofmemoriesitselfisinfinitelymorethanthesensationsandmovementsofthepresenthour,butthesesensationsandthesemovementsconditionwhatwemaytermourattentiontolife,andthatiswhyeverythingdependsontheircohesioninthenormalworkofthemind...'.[13]

AsinthewritingsofDeleuzeoncinemaalsoheavilydependentonBergson'swritingsonformsofmemory,andonthedynamicpossibilitiesofthetimeimageincontradistinctiontotheautomaticandclichedcharacterofthemovementimageGodard'sabidingconcernwiththedebilitatingbutalsocreativedimensionsofthepasthavecenteredoninvestigatingmodesforjammingsensorymotor,commonsensicalresponsestoimagesintheinterestsofarrivingatamorecriticalrelationtothepastandtoquestionsofsamenessanddifference.Forexample,in_ForEverMozart_(1997),theallusiontoRavel's_Bolero_asfatalcarriesoneofthefilm'simportantquestions:'IsthehistoryofEuropeinthe1990sasimplerehearsalwithslightsymphonicvariationofthechaosandcowardiceofthe1930s...adreadful

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 12/16

unending_Bolero_byRavel?'TheinvocationoftheRavelpieceasanexemplarymusicalinstanceofrepetitionwithslightvariationoffersoneversionofartthatremainslimitedandconfinedtotheendlessconflictbetweenthemachinicandthechaotic,suggestingacertaindeterminismandinevitability.Mozart'smusic,however,istied,liketheimageoftheskyinthefilm,toaformofdreamingorimaginationthatcinemacanevoke,suggestingavisionofdifference,ofconstantmovementandofplayfulness.

Inthecontextofmusic,Mozart(andtheyoungmandressedasMozart)inthefilmprovidesacontrasttothecrassformsoffilmmaking,dramatizedinoneofthefilm'ssegments.Thefilmendswithanimageofhismusicalscript,signifyingthenecessityofturningthepage,andofmovementratherthanstasisandclosureallattributesofGodard'sconceptionofthecinematicimage,animagethatelevatesthedynamismofmemoryoverthefixityofofficialhistory.Similarto_OhWoeIsMe_,_ForEverMozart_isimmersedinrelationsbetweenpastandpresentastheyinvolvepoliticalevents(theSpanishCivilWarandtheWarinBosnia),memoriesoffascism,memoriesofcinema,andquestionsofobjectivity.ButinGodard,asDeleuzenotes,

'thedistinctionbetweensubjectiveandobjective...tendstoloseitsimportance...Werunintoaprincipleofindeterminability,ofindiscernibility:wenolongerknowwhatisimaginaryorreal,physicalnormental,inthesituation,notbecausetheyareconfused,butbecausewedonothavetoknowandthereisnolongeraplacefromwhichtoask.Itisasiftherealandimaginarywererunningaftereachother,asifeachwasbeingreflectedintheother,aroundapointofindiscernibility...Theimaginaryandrealbecomeindiscernible.'[14]

Inhispenultimatechapter,SterrittaddressestheroleofmemoryinGodardthroughadiscussionofafilmthathasreceivedminimalcriticalattention:_NouvelleVague_.Thediscussionvalidateshow,inGodard'swork,indiscernibilitybetweentheimaginaryandtherealarecentraltoeveryaspectofthefilmmaker'sinvestigationsofcinema.Sterrittclaims:

'Thinkingof_NouvelleVague_asamemorymoviehelpsexplain

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 13/16

suchcharacteristicsasthevividnessofitsimagesthemind'seyesometimesseeslongpastrecollectionsinamazingdetailandtheemotionalchargethattheseimagescarry,quiteapartfromtheincidentsandencountersthattheycontainandconvey.Consideringthefilmasanexerciseinmemoryalsoshedslightonthearbitrarinesswithwhichtheimagesrelatetooneanother.Likedreams,memoriesoftenfollowanonlogicoftheirowngivenGodard'slifelonginterestinescapingthelimitsoflogicandrationality,itisnotsurprisingthathewouldeventuallyusetheprerogativesofmemorytoanchoranentirework.'(230)

Appropriately,Sterritt'sdiscussionofthesixfilmshascometorestontheissueofmemoryand,asSterrittsuggests,inhelpingtoaccountforanunderstandingofthearbitrarinessofimagerelationships.Throughthetimeimage,Godardisabletojuxtaposepersonalrecollectionwiththeartisticpastofcinema,thuselaboratingonhisongoingresistancetothefixityofnamingandmeaninginhisbattleagainstwhatDeleuzehasdescribedastheubiquityofthecliche,seekingtoanimateattentivememoryandpermittheviewer'toseewhattimeiscapableof',asJonathonDronsfieldputit.[15]Inthisrespect,videoappearstobe,asSterrittandothershaveasserted,acongenialmediumforGodard'sexperimentation,permittinghimtopursuehis'longtimefascinationwithspontaneouscreationand(alwaysatthetopofhisagenda)challengingcommonsensenotionsofsociallyproductiveart,entertainment,andcommunication'(249).

Sterritt'sstudyconformstomuchoftherecentworkonGodardthatlinksthefilmmakertomajorquestionsconcerningoldandnewmedia.ParticularlyadmirableisthewayinwhichSterrittisabletothreadhiswaythroughtheverydifficultfilmsandbringnewinsightstobearontheirformandonthecharacterofGodard'sphilosophicinvestigationsoftheimage.Inparticular,thelengthyandnuanceddiscussionof_HailMary_shedslightonobscurefeaturesofthefilm,andalsobringstothesurfacethecomplexityanddepthofGodard'sphilosophicinvestmentinmedia.OneoftheadvantagesofhavingselectedonlysixfilmstodiscussistheopportunitytoappreciatetheintricaciesofGodard'sstyle,hisencyclopaedicrangeofallusionandquotation,andthephilosophicsourceandnatureofhisconcerns.Whilethebookdoesintroduceadiscussionofhisotherfilms,includingthosefrom1991to2000,Imissedtheopportunitytoengagewiththecomplexitiesofsuchfilmsas_For

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 14/16

EverMozart_andparticularly_Histoire(s)ducinema_(19891997).Sterrittdoesmakereferencetothesefilms,andmuchofwhathesayscanshedlightontheselaterfilms,butnonethelessIfindtheselectionsacontradictioninaworkthatseekstoestablishtheongoingvitalityandimportanceofGodard'smediawork.

Anothertroublingaspectofthisextremelywellresearched,wellwritten,knowledgeable,andeminentlyreadablebook,isitstooeasydismissalofpoliticsinGodard'sworkafterthe1960s.TheGodardthatemergesfromSterritt'sstudyeveninhisdiscussionofthefilmsofthe1960sseemscleansedofpolitics.Inthiscontext,itwassurprisingtomethatJamesRoyMacBean's_FilmandRevolution_wasnotevencited.InSterritt,thepoliticalGodardhasgivenwaytoGodardthephilosopherandmetaphysician,thusdownplayingtheimportofGodard'songoingconcerntochallengetheculturalandpoliticalimpactofcinema,television,andmedia.Nonetheless,_TheFilmsofJeanLucGodard_holdsaveritablecornucopiaofideasonthedynamiccharacterofGodard'sfilmmaking,andhispreeminentroleasananalystofculture.

UniversityofPittsburgh

Pennsylvania,USA

Footnotes

1.MichaelTempleandJamesS.Williams,'Introduction',inTempleandWilliams,eds,_TheCinemaAlone:EssaysontheWorkofJeanLucGodard,19852000_(Amsterdam:AmsterdamUniversityPress,2000),p.9.

2.Ibid.,p.11.

3.MarciaLandy,''JustanImage':Godard,CinemaandPhilosophy',_CriticalQuarterly_,vol.43no.3,Autumn2001,pp.

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 15/16

934.

4.D.N.Rodowick,_GillesDeleuze'sTimeMachine_(Durham:DukeUniversityPress,1997),p.152.

5.FredricJameson,_TheGeopoliticalAesthetic:CinemaandSpaceintheWorldSystem_(Bloomington:IndianaUniversityPress,1992),p.159.

6.GillesDeleuze,_Cinema2:TheTimeImage_,trans.HughTomlinsonandRobertGaleta(Minneapolis:UniversityofMinnesotaPress,1989),p.22.

7.Ibid.,p.133.

8.Ibid.,p.280.

9.SeeJamesRoyMacBean,_FilmandRevolution_(Bloomington:IndianaUniversityPress,1975),p.45.

10.Deleuze,_Cinema2_,pp.182183.

11.LaetitiaFieschiVivet,'InvestigationofaMystery:CinemaandtheSacredin_Helaspourmoi_',in_TheCinemaAlone_,p.190.

12.TagGallagher,_TheAdventuresofRobertoRossellini_(NewYork:DaCapo,1998),p.430.

13.HenriBergson,_MatterandMemory_,trans.NancyMargaretPaul(NewYork:ZoneBooks,1991),p.173.

4/3/2015 Landy on Sterritt

http://www.film-philosophy.com/vol6-2002/n30landy 16/16

14.Deleuze,_Cinema2_,p.7.

15.JonathonDronsfield,'ThePresentNeverExistsThere:TheTemporalityofDecisioninGodard'sLaterFilmandVideoEssays',in_TheCinemaAlone_,p.62.

Copyright_FilmPhilosophy_2002

MarciaLandy,'Godard:ThinkingMedia',_FilmPhilosophy_,vol.6no.30,September2002.

SaveasPlainTextDocument...Print...Read...Recycle

BacktotheFilmPhilosophyhomepage