In: Temple, M and Williams, J and Witt, M, (eds.)
For ever Godard.
Black Dog Publishing: London.
The aim of this essay is to discover the range of uses to which voice, mostly his voice, is put in Godard?s work, with emphasis on Histoire(s) du cinéma as the endpoint of certain trajectories. By listening to the speaking subject in Histoire(s) du cinéma and in ten or so other films, I will suggest a strategic reversal of the priority commonly accorded image over sound. The argument that subtends this description is that sound is the primary level of signification in Histoire(s) du cinéma and, at times, in those other films: Godard is one of only a handful of filmmakers with work that would survive the end of images.
|Additional information:||Imported via OAI, 22:12:08 8th Apr 2008|
|Keywords:||Godard, voice, Histoire(s) du cinéma|
|UCL classification:||UCL > School of Arts and Social Sciences
UCL > School of Arts and Social Sciences > Faculty of Arts and Humanities
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