Directed by:
Jean-Luc GodardScreenplay:
Jean-Luc GodardCinematography:
Fabrice AragnoVOD (1)
Plots(1)
Long before its premiere, Godard explained to journalists from the Russian magazine Séance that the structure of the film is like a human hand. Each of the chapters (including the ones on travel, wars and law) is a fragment of history and of life. Only when they are collected together do they give us a complete picture. Made up of fragments of classic works, news and videos from ISIS and YouTube, the erudite The Image Book talks about the terror of images, which do not so much explain the world as shape it in accordance with the wishes of politics. In the Middle East, Jean-Luc Godard looks at the issues of representation and the lack thereof, as well as the curse of the image imposed by the West, which influences how we see it. Shuffling images on the screen like cards, manipulating sound, the maker of Breathless asks what role cinema has played in 20th and 21st-century history. Has it been a chronicler of violence, a virus spreading dangerous ideologies, the guardian of the existing order, a passive observer? (New Horizons International Film Festival)
(more)Reviews (1)
The essence of a book is to encompass all other books ("intertextuality"), the nature of reality is to contain within itself an infinity of realities ("representations"), and finally, the essence of an image is (not) to encompass all other images, all stories, and all interpretations, but also something more - a peaceful fascination with itself, free from interpretation, open to the flicker of an always new world, a new sequence. After all, sequences unfold in time, and when an entire life is needed for an hour of film, the ultimate refuge of films becomes a fragment of images, which have the power to compress entire centuries in their flashes. Or at least their own - the twentieth century of cinema. Jean-Luc Godard, even in his old age, does not change his likely definitive word of an abandoned revolutionary, who does not intend to abandon the hopes of his past and his images and becomes the Angel of Walter Benjamin, who redeems the victims of oppression and exploitation with his gaze (after all, Benjamin's textual metaphor has a prototype in... Paul Klee's painting).
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