Diffractions of the Digital : Godard and the Kinetics of the History-Image

• As exemplified by Eloge de l'amour (2001), Jean-Luc Godard's work after Histoire(s) du cinéma (1988–98) – which critiqued cinema's treatment of its contemporary cultural and oplitical history, – has made use of digital technology in order to explore the remaining potential of the medium after its purported demise and ethical failure. By drawing on concepts from Gilles Deleuze and Karen Barad, this paper aims to elucidate the techno-aesthetic conditions of Godard's implied method of imaging the dual flux of temporality: becoming history and becoming future. In this diffracting process, Godard's late films embody the present condition of visual culture as it splits between past and future from the point of a present crisis of its material conditions of representation. Neither virtual reality nor classical realism, a diffractive method of digital filmmaking explores the new materiality of motion pictures. 

Ämnesord

HUMANIORA  -- Annan humaniora -- Kulturstudier (hsv//swe)

HUMANITIES  -- Other Humanities -- Cultural Studies (hsv//eng)

HUMANIORA  -- Filosofi, etik och religion -- Idé- och lärdomshistoria (hsv//swe)

HUMANITIES  -- Philosophy, Ethics and Religion -- History of Ideas (hsv//eng)

HUMANIORA  -- Konst -- Filmvetenskap (hsv//swe)

HUMANITIES  -- Arts -- Studies on Film (hsv//eng)

Nyckelord

Jean-Luc Godard

Gilles Deleuze

Karen Barad

digital cinema

film history

diffractive methodology

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