Sam Rohdie
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in Film modernism
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There are no essential images in Histoire(s) du cinéma. Every image in it has a certain irresoluteness. Every image can be undone and often is undone by the next. Generally, Godard does not distinguish in this way between ‘essential’ and ‘inessential’ images. Unlike most film directors, he doesn’t use some images as weak links in a narrative chain leading to strong ones, but only images which, in addition to serving a narrative function, also have independent value.

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