Jean Luc Godard. Políticas de la imagen: premonición, reconstrucción, resistencia

Abstract

Abstract

Only critical distancing let Godard value the premonitory potential of film, and at the same time, point out the incapacity to register the realness that it generated. The filmmaker has always believed that “film is prophetic, it predicts and announces things”, and that this condition corresponds to its essence as a record. Rancière in a lucid reading of Film History says that for Godard: “film is responsible for not filming fields in their time; great for filming them before their time and guilty for not knowing how to recognize them”. This article begins with these clear political propositions, as well as proposing some variations.

Keywords:

premonición

reconstrucción

resistencia

política

imagen

premonition

reconstruction

resistance

politics

image

References

BELLOUR, Raymond. (1992). (Not) just an other filmmaker. En: Jean-Luc Godard,son + image (1974-1991) Museum of Modern Art, New York, New York.

Bergala, Alain. (1999). Nul mieux que Godard. En: Cahiers du cinéma. París.

Bonnaud, Frédéric; Vivan Arnaud. (1998). God art. En: Los Inrockuptibles, No. 28.

Godard, Jean-Luc. (2007). Historia(s) del cine. Buenos Aires: Caja Negra.

Ishaghpour, Youssef. (1999). Arqueología del cine y memoria del siglo. En:Cahiers du cinéma, No. 536. París.

Rancière, Jacques. (2001). La Fable cinématographique. Paris: Seuil.

Kaganski, Serge; Lalanne, Jean-Marc. (2006). El viejo soldado. En: Los Inrockuptibles, No. 106.