Le ‘s’ d’Histoire(s) du Cinema de Godard – New ways to see, to hear, to understand

Céline Scemama

Event Series

Guided Tour?

Field of Study

New Media

Date & Location

Tue, 20 Jan 2015, 19:30

Dr. Céline Scemama, Université Paris 1, behandelt in ihrem Buch “Histoire(s) du cinéma de Jean-Luc Godard – La force faible d’un art” Godards filmisches Werk über die Geschichte des Kinos. In ihrem Vortrag schildert sie hierzu nicht nur ihr eigenes analytisches Vorgehen sondern geht auch der Frage nach, inwieweit sich das Werk mit heutigen technischen Möglichkeiten (fort-)schreiben ließe.

In the manner of pioneers, Jean-Luc Godard has always experimented potentialities his art offered. Histoire(s) du cinéma (1988-1998) is a monumental film of four hours and twenty-five minutes divided in eight chapters which opens the final period in Godard’s works. In this film, Godard entrusts the art of film with a mission that has often been denied: to think and more particularly here, to think History, “all the stories”. To think, for Godard, means to see and to hear. Consequently, such audiovisual thought cannot be dissociated from what is objectively happening on screen with the combination of many forms and the modalities of their encounters. The aim of this conference is to consider new forms of analyses which are involved in his work, precisely to analyze this audiovisual thought.

Celine Scemama is a Lecturer in Film Aesthetics (University of Paris I Panthéon-Sorbonne) and member of the Laboratory of Research Institut ACTE (Arts/Creations/Theories/ Aesthetics). She is specialized in film analysis and published Antonioni: le désert figuré (1998) and Histoire(s) du cinéma de Jean-Luc Godard: la force faible d’un art (2006). In order to carry out her study of this Godard’s piece of work, she has developed a method of analysis that led her to the creation of a “partition” of the film over two hundred pages (http://cri-image.univ-paris1.fr/celine/celine.html). She also wrote « Robert Bresson and the voices of an inner world: “I” can never be “You”, or the impossible identification », in Subjectivity (“Key Debates in European Film Studies” – University Press of Amsterdam, 2011). She is currently preparing a book of film analysis that will provide both a theoretical and analytical approach.