Jean-Luc Godard’s Passages from the Photo-Graphic to the Post Cinematic. Images Caught in between Intermediality and Convergence
Jean-Luc Godard’s Passages from the Photo-Graphic to the Post Cinematic. Images Caught in between Intermediality and Convergence

Summary/Abstract: The article begins with an attempt to trace the various domains of Godard’s widespread influence that reaches beyond contemporary cinema in our post-media culture (installation art, literature, music, graphic design, commercial videos, the current vogue of the “Godardesque” retro look promoted on the scene of fashion world, and finally, photography). The advertising strategies used by the Band of Outsiders fashion label using Polaroid photos that reconstruct or imitate Godard images are analysed in more detail, their connection with a “photo-op” culture and the emergence of the “photo-filmic” image is emphasised. The article then connects all these “Godardesque” features that survive in the post-cinematic world to the intermedial use of photography in Godard’s films that may have pre-figured their post-filmic appropriation. Some of the relevant junctures are pointed out between “the cinematic” and the “photographic” revealing how photography in Godard’s films seems to offer a centre stage both for inter-medial tensions but also for the assimilation by other media. His latest film, Film Socialisme is analysed in this sense as an allegoric passage of the photographic image from intermediality to media convergence.

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