Montage (1)
in Film modernism
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It is as if Godard is intent not only to break apart things but to break them apart at the very line that was instituted by the first films (and is a constant in every film), namely, that between the chaos of reality and the desire for orderliness in the film. If something is established in a Godard film, it is almost always interrupted, intruded upon, broken into, dismantled as if the messiness of reality (however conceived) is integral to the orderliness of the film and that this messiness inevitably makes its presence felt and in such a way - and it is a way out of an historical problem as posed by Bazin and Malraux - that Godard’s films never settle on one side or the other of this historical divide, but instead gain strength and fascination by their between-ness, a between-ness that his films carefully cultivate and at the same time carelessly allow.


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