VIDEO THINK WHAT CINEMA CREATES

PhiLIPPE DUBOIS
It was a way of breathing through images, of being intimately joined
with them, a way of posing question and attempoting answers. Its
video as always there, within reach of hand and eye, as a way of
reflecting (on) cinema, in all its forms and states: video in film (Ici et
allieurs, numero deux 1975, comment ca va 1976)
Video en Tv (6 fois 2, FTDT, video beofre films, video after film,
video instead of fil. Video about films
Numero deux conceived by television but clothed by cinema.
169
el trabajo de godard por esta poca esta bassado en preguntas al
cine. Por qu? Cmo?
And video, which he discovers and appropriates at this time, appera
to him the only possibiity of fighting back in knd, that is, responding
in images and sounds to the set of question thath address why we
no longe knoe how to communicate, speak, see and think, and how
we can still try to speak and crate with images and sounds. 170
Formas de puesta en escena vidografica.
Direct address interaction, interconnection,direct live.
Separacin.
Classical televisual ennucation pg.174
Interveiws, comentaries, presentation, reports , and so on.
Antitelevision. (from the inside) a complete turning of television
conventions against themselves
Silence and stammering:
along with the silence, there is language-floating, uncetain,
hesitant, stumbling. Godard erases non of the gaps in speech, the
trials and erros, the verbal digressions, niether his own nor thos of
others.
Stammering as the language of video.
Godard spenas as he thinks ans thinsk as he speask, at his won
speed. He tries speaking live from his thoushts.
Six fois deux as Godard last political film and FTD the first lyrical,
densely artistic film of the Godard of the eighties, already tending
toward Sauve quei peta (la vie), but at the heart of the televisual
apartus.
Descomposicin pasa de la fotografa a la videografa.

Experiments with the image matter. (azarosos, impredescibles)

forms/emotions, knowledge and technique.
Whose potencial he discovers as he watches it unmake and remake
itself. 180
Obejtos casi terminados. video state.
The images then appear, Little by litlye, very slowly, in waves ,as if
bubbling up form the botton of his thought-in-process, superiposin
themselves of ithe silhoutte of hiw own body, which haunts the
laboratory.
Las relaciones de los personajes no vienen de ideas preconceibidas,
como por ejemplo, el dialogo. Vienen de las imgenes en s
mismas, de una lgica visual y no verbal.
Whether he uses slow motion or superimposition, Godard is always
experimenting in video with figures that permit him to think in
images, and not in laguage, and to intercat with them
instantanously, which allows him to see in the momento he
conceives. 181