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in Film modernism
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Jean-Luc Godard tends to break up any pattern or configuration he gives shape to in his films or whose shape he happens to encounter or discover as it is being formed or perceived through the lens of the camera or at the editing table. The images and sounds in Histoire(s) du cinéma (1988-98) are mostly fragments from other unities cut out from an original context and, even if recognisable, something new.

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