Sam Rohdie
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Passion is characteristic of Godard’s work whereby what is given is in fragments and everything seen and heard made subject to dismantling by citation, parody, juxtapositions of apparently unrelated objects, settings and periods. For example, a television a crew filming the tableaux of paintings being filmed by the film; Fauré’s Requiem and a scenic filmic reproduction by actors of Rembrandt’s The Night Watch, all simultaneously on different registers and overlapped. Lines and differences are emphasised rather than hidden nor is the film hidden. The relation between film and what is filmed is not transparent, the filming not effaced for the benefit of the represented. Such differences are not effaced, so too nothing that is presented therefore is false or illusory or strictly speaking make-believe. Make-believe, the putting into scene, the act of filming are indicated for what they are, in their separateness and difference. It is representational illusions, above all of relatedness, consequence and homogeneity that the film exposes. Everything is true and real. What is witheld are the strategies and rules of a verisimilitude. The fiction of the film is so underlined that the film seems to be citing itself as if it is its own subject.

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