in Film modernism
Abstract only
Log-in for 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. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


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

Redeem token

Pop Art reached out not to real things but to images of things, and its aesthetic discipline has consisted in seeing objects as images or sculptures, so that the Bowery or the suburban kitchen becomes for the Pop artist an art exhibition ready for shipment to the international chain of art showcases. Basically, Pop Art is ‘found’ art, done over, but preserving its original appearance. Its most potent effect is the hallucination of mistaking the street for a museum or like the astonishment of Molière’s character on learning that he has for a lifetime been speaking prose, but is unaware of it.

All the images in Histoire(s) are almost entirely cited, found images, as are its sounds and speech. There are no real things in Histoire(s), but rather pictures of things, duplicates of things. It is these images and duplicatins, the citations, that are concrete. The close relation in Godard’s films between fiction and the real, the character and the actor, the object and its representation, History and history is like Pop.


All Time Past Year Past 30 Days
Abstract Views 58 6 0
Full Text Views 30 16 0
PDF Downloads 19 7 0