DELEUZE on GODARD's montage strategy
On 23rd September 2011, from 3:30 pm to 5 pm, the Friday Seminar Group, of the Department of Film Studies at Jadavpur University (Kolkata, India) invites Dr. Jean-Frédéric Chevallier (France, Mexico) to give a special lecture on the following topic: Gilles Deleuze's analysis of Jean-Luc Godard's montage strategy - How to pass from one image to another? And what for? The talk takes place in the Seminar room of the department. The entry is free and everybody is welcomed.
FRIDAY SEMINAR GROUP - DEPARTMENT OF FILM STUDIES - JU invites to
Deleuze on Godard’s montage strategy
How to pass from one image to another? What for?
Dr. Jean-Frédéric Chevallier [Independent Scholar and Stage Director]
on Friday 23rd September 2011 / from 3:30 pm to 5 pm
Seminar Room / Film Studies Department / Jadavpur University / Kolkata
ENTRANCE IS FREE AND EVERYBODY IS WELCOMED
The French philosopher Gilles Deleuze describes the end of logical-narrative and sensory-motor links in contemporary cinema. And it’s exactly what happens in Jean-Luc Godard's films. Godard does not follow a pre-established rule to pass from one image to another. But neither he chooses a first image and then a second one at random. There is an efficient strategy involved here. What is this strategy? How to pass from one image to another? Why to do it in such a way? What for? To answer these questions, the analysis proposed by Gilles Deleuze is again extremely helpful.
"In Godard’s method, it is not question of association. Given one image, another image has to be chosen which will induce an interstice between the two. This is not an operation of association, but of differentiation: given one potential, another one has to be chosen, not any whatever, but in such a way that a difference of potential is established between the two, which will be productive of a third or of something new. The fissure has become primary, and as such grows larger. It is the method of BETWEEN, “between two images”. It is the method of AND, “this and then that”. The whole undergoes a mutation, because it has ceased to be the One-Being, in order to become the constitutive “and” of things, the constitutive between-two of images. The whole thus merge with that Blanchot calls the “vertigo of spacing”."
Gilles Deleuze, Cinema 2. The Time-Image, Mineapolis, University of Minnesota Press, 1997. pp. 179-180.
Tags: jean-luc godard, gilles deleuze, jean-frédéric chevallier, time-image, between two images, method of between, method of and
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