1964

Godard’s camera keeps its distance; it registers. Godard refuses to impose an opinion on the spectator through dramaturgical manipulation. The verisimilitude of his art does not rest on faithful imitation of reality but manifests itself in the recognition of its fictional character.

Godards camera bewaart een afstand; hij registreert. Godard weigert de kijker via dramaturgische manipulaties een mening op te dringen. De werkelijkheidsaanspraak van zijn kunst berust niet op een zo trouw mogelijke nabootsing van de werkelijkheid, maar manifesteert zich in de erkenning van het fictieve karakter ervan.

A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.

A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.