Jean-Luc Godard Thesis Film Studies From The Perspective Of Audiovisual History (1985-2000)

For a long time,Jean-Luc Godard,as one of the founders of the new wave of French cinema,has been known for his vivid anti-bone images in both the anti-traditional narrative film aesthetics and radical left political experiments.However,since the late 1980s,Godard,who has returned to the film,plays both the role of a writer and a historian,and completes the intelligible and invisible history in the inheritance and image practice of the traditional style of Montaigne.Reproduction and reflection.At the same time,this duality also makes the late Godard's films have a strong dialectical tendency of historical reflection.In the middle of the twentieth century,the essay film expressing ideas and arguments was mixed with various types of records,fictions,and experiments.In the left bank director represented by Chris Mark,he showed his edge.Godard also began to try this audiovisual creation.From the essay-like features in his 1966 "Men-females",to the radical political tendencies such as "One Plus One",and "Struggle in Italy" in the post-68 period,to the later relatively unified thesis Films "History of Film","Germany Zero","Self-Portrait" and other works;At the same time,in the context of anti-traditional historiography in the second half of the twentieth century,Western historical scholars reflect on the history of writing through long-term interaction with audiovisual media.Express dilemma and strive to bridge the gap between film and history.In 1988,postmodern historian Hayden White proposed the concept of "historiophoty" to express this new historical thinking mode.Therefore,from the framework of the dissertation,this article examines how Godard used the unique audiovisual form and discourse method of dissertation film after the 1980s to complete film,twentieth century and personal audiovisual history practice.The main body of this thesis consists of three parts:The first part is a summary of the historical topics discussed in Godard's dissertation and film.In his later dissertation and film,he extracted the three major topics he covered and expounded the historical connotation of these topics.The second part analyzes and reviews Godard's film thesis in detail and examines its historical presentation-landscape,historical research-montage,historical critique-dialogue,to restore and shape the historical argumentation process of Godard's dissertation and film;the third part is On the basis of the previous arguments and discussions,combining the film ontology,heterogeneous historical view and redemptive aesthetics to trace the logic of historical argument followed by Godard's dissertation.Since the New Wave movement,Godard's creative trajectory has been known for its varied styles,different forms,and experimental pioneers.Therefore,it is not easy to try to grasp its video art systematically and comprehensively.It is also because of its complex and profound film creation that it is necessary to avoid singularization and labeling in the understanding of its films.When image creation can be used as a tool for expression and argumentation,the film is also looking for another possibility at the same time.Get resurrection and rebirth from it.