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This research is at the intersection of aesthetics, arts, and information and communication sciences. My initial hypothesis was based on the contribution of Godard's work to multidisciplinary research. As a filmmaker, critic, theoretician, video producer, archivist and television director, Jean-Luc Godard is the author of a metamorphic work, which radically redefined the boundaries of cinema. Godard challenged the hegemonic ambition of current technologies and, at the same time, integrated them in an experimental film practice. Thus, he has developed a pensée en actes filmiques, without breaking with current times. The montage at the foundation of Godard's creation, and also expressed in his discourses, has created a space in which the contrary confluence of discursive, visual and acoustic signs – stemming as much from the vast field of literary, philosophical, musical, cinematographic, classical and modern artistic culture as from contemporary artefact production – and leads the viewer to break with his habits. Godard's montage has questioned the future of communication by image and word, and has offered an aesthetic concept to the domination of the visual. My thesis was based on discourse and image analysis, paying a close attention to the films produced by Godard during and following the conception of Histoire(s) du cinema (1988-1998). Since the 1990s, Godard's film practice has become that of an essayist and a writer of multimedia. The principle of re-use has been at the very foundation of Godard's films. By exploiting this, I analysed the filmmaker's fragments and quotes. I used a comparative and multidisciplinary approach which allowed me to embrace several picture, artwork and language theories, all of them being critical points of view to think about the potentials of communicating by audiovisual creation. Godard, as a paradoxical player of the end of cinema, redefined the film's devoir-être, i.e. an imperative short-circuiting of early film theory (Epstein, Faure), of Merleau-Ponty's phenomenology and ...

This research is at the intersection of aesthetics, arts, and information and communication sciences. My initial hypothesis was based on the contribution of Godard's work to multidisciplinary research. As a filmmaker, critic, theoretician, video producer, archivist and television director, Jean-Luc Godard is the author of a metamorphic work, which radically redefined the boundaries of cinema. Godard challenged the hegemonic ambition of current technologies and, at the same time, integrated them in an experimental film practice. Thus, he has developed a pensée en actes filmiques, without breaking with current times. The montage at the foundation of Godard's creation, and also expressed in his discourses, has created a space in which the contrary confluence of discursive, visual and acoustic signs – stemming as much from the vast field of literary, philosophical, musical, cinematographic, classical and modern artistic culture as from contemporary artefact production – and leads the viewer to break with his habits. Godard's montage has questioned the future of communication by image and word, and has offered an aesthetic concept to the domination of the visual. My thesis was based on discourse and image analysis, paying a close attention to the films produced by Godard during and following the conception of Histoire(s) du cinema (1988-1998). Since the 1990s, Godard's film practice has become that of an essayist and a writer of multimedia. The principle of re-use has been at the very foundation of Godard's films. By exploiting this, I analysed the filmmaker's fragments and quotes. I used a comparative and multidisciplinary approach which allowed me to embrace several picture, artwork and language theories, all of them being critical points of view to think about the potentials of communicating by audiovisual creation. Godard, as a paradoxical player of the end of cinema, redefined the film's devoir-être, i.e. an imperative short-circuiting of early film theory (Epstein, Faure), of Merleau-Ponty's phenomenology and ...

International audience ; The cinematographic work of Jean-Luc Godard, more specifically the films he made the last twenty years, examined tirelessly the articulation between art and communication, politics and economy. From Histoire(s) du cinema to Film Socialisme , the aesthetic regime of art has been questioned, as well as the commoditisation of the artwork and the need to fight against this process. Moreover, the regained freedom of Europe can paradoxically sound the death knell for the thought, the self-determination of Peoples and the integrity of art. However, this exploration of the political power or powerless of art comes from a film-maker whose solitary attitude and enouncing, inscribed in the margins of institutions, create the risk of the non-communication of a critical thinking given by the cinema as a medium, even though the cinematographic art is one of the major witnesses of our time. ; Le cinéma de Jean-Luc Godard, plus particulièrement les films qu'il réalise depuis ces vingt dernières années, questionne sans relâche l'articulation de l'art à la communication, au politique et à l'économique. Depuis les Histoire(s) du cinéma jusqu'à Film Socialisme , sont interrogés le régime esthétique de l'art, la nécessité pour l'art de résister à la captation de l'œuvre devenue marchandise et les paradoxes d'une Europe dont la liberté reconquise peut aussi sonner le glas de la pensée, de l'autonomie des peuples et de l'intégrité de l'art. Cependant, cette exploration de la puissance ou de l'impuissance politique de l'art émane d'un cinéaste dont la posture et l'énonciation solitaires, inscrites dans les marges des institutions, induisent le risque de l'incommunication d'une pensée critique dont le medium cinématographique est pourtant l'un des grands témoins de notre temps.

International audience ; The cinematographic work of Jean-Luc Godard, more specifically the films he made the last twenty years, examined tirelessly the articulation between art and communication, politics and economy. From Histoire(s) du cinema to Film Socialisme , the aesthetic regime of art has been questioned, as well as the commoditisation of the artwork and the need to fight against this process. Moreover, the regained freedom of Europe can paradoxically sound the death knell for the thought, the self-determination of Peoples and the integrity of art. However, this exploration of the political power or powerless of art comes from a film-maker whose solitary attitude and enouncing, inscribed in the margins of institutions, create the risk of the non-communication of a critical thinking given by the cinema as a medium, even though the cinematographic art is one of the major witnesses of our time. ; Le cinéma de Jean-Luc Godard, plus particulièrement les films qu'il réalise depuis ces vingt dernières années, questionne sans relâche l'articulation de l'art à la communication, au politique et à l'économique. Depuis les Histoire(s) du cinéma jusqu'à Film Socialisme , sont interrogés le régime esthétique de l'art, la nécessité pour l'art de résister à la captation de l'œuvre devenue marchandise et les paradoxes d'une Europe dont la liberté reconquise peut aussi sonner le glas de la pensée, de l'autonomie des peuples et de l'intégrité de l'art. Cependant, cette exploration de la puissance ou de l'impuissance politique de l'art émane d'un cinéaste dont la posture et l'énonciation solitaires, inscrites dans les marges des institutions, induisent le risque de l'incommunication d'une pensée critique dont le medium cinématographique est pourtant l'un des grands témoins de notre temps.

International audience ; The cinematographic work of Jean-Luc Godard, more specifically the films he made the last twenty years, examined tirelessly the articulation between art and communication, politics and economy. From Histoire(s) du cinema to Film Socialisme , the aesthetic regime of art has been questioned, as well as the commoditisation of the artwork and the need to fight against this process. Moreover, the regained freedom of Europe can paradoxically sound the death knell for the thought, the self-determination of Peoples and the integrity of art. However, this exploration of the political power or powerless of art comes from a film-maker whose solitary attitude and enouncing, inscribed in the margins of institutions, create the risk of the non-communication of a critical thinking given by the cinema as a medium, even though the cinematographic art is one of the major witnesses of our time. ; Le cinéma de Jean-Luc Godard, plus particulièrement les films qu'il réalise depuis ces vingt dernières années, questionne sans relâche l'articulation de l'art à la communication, au politique et à l'économique. Depuis les Histoire(s) du cinéma jusqu'à Film Socialisme , sont interrogés le régime esthétique de l'art, la nécessité pour l'art de résister à la captation de l'œuvre devenue marchandise et les paradoxes d'une Europe dont la liberté reconquise peut aussi sonner le glas de la pensée, de l'autonomie des peuples et de l'intégrité de l'art. Cependant, cette exploration de la puissance ou de l'impuissance politique de l'art émane d'un cinéaste dont la posture et l'énonciation solitaires, inscrites dans les marges des institutions, induisent le risque de l'incommunication d'une pensée critique dont le medium cinématographique est pourtant l'un des grands témoins de notre temps.

International audience ; The cinematographic work of Jean-Luc Godard, more specifically the films he made the last twenty years, examined tirelessly the articulation between art and communication, politics and economy. From Histoire(s) du cinema to Film Socialisme , the aesthetic regime of art has been questioned, as well as the commoditisation of the artwork and the need to fight against this process. Moreover, the regained freedom of Europe can paradoxically sound the death knell for the thought, the self-determination of Peoples and the integrity of art. However, this exploration of the political power or powerless of art comes from a film-maker whose solitary attitude and enouncing, inscribed in the margins of institutions, create the risk of the non-communication of a critical thinking given by the cinema as a medium, even though the cinematographic art is one of the major witnesses of our time. ; Le cinéma de Jean-Luc Godard, plus particulièrement les films qu'il réalise depuis ces vingt dernières années, questionne sans relâche l'articulation de l'art à la communication, au politique et à l'économique. Depuis les Histoire(s) du cinéma jusqu'à Film Socialisme , sont interrogés le régime esthétique de l'art, la nécessité pour l'art de résister à la captation de l'œuvre devenue marchandise et les paradoxes d'une Europe dont la liberté reconquise peut aussi sonner le glas de la pensée, de l'autonomie des peuples et de l'intégrité de l'art. Cependant, cette exploration de la puissance ou de l'impuissance politique de l'art émane d'un cinéaste dont la posture et l'énonciation solitaires, inscrites dans les marges des institutions, induisent le risque de l'incommunication d'une pensée critique dont le medium cinématographique est pourtant l'un des grands témoins de notre temps.