The sense of an ending: 1991–96

in Jean-Luc Godard
Abstract only
Get Access to Full Text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Access Tokens

If you have an access token for this content, you can redeem this via the link below:

Redeem token

In the 1990s, Jean-Luc Godard's work was marked by a distinct turn towards the past, by a new concern for history. The hypothesis of the end of history has been most famously asserted in recent times by Francis Fukuyama. Godard's Allemagne neuf zéro can be seen as a response to the kind of triumphalism surrounding the reunification of Berlin and the victory of western capitalist democracy. JLG/JLG: Autoportrait de décembre presents an image of Godard at a moment in time, engaging in such typical activities as working on films and walking by the lake. In Hélas pour moi, Godard aims to give his story a completely different status to the kind of information that is easily assimilated but quickly forgotten in the contemporary sphere of audiovisual media.



All Time Past Year Past 30 Days
Abstract Views 39 39 2
Full Text Views 25 25 3
PDF Downloads 1 1 0

Related Content