Reinventing the everyday in the age of spectacle: Jean-Luc Godard’s artistic and political response to modernity in his early works

Ahmet Süner
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Abstract

Godard’s films prior to 1968 are usually received as pure experimentations of style, as if these films were little more than art-historical examples of a certain kind of avant-garde cinema. The author argues instead that Godard’s often frenzied cinematic experimentations in his early movies may be understood as reflections on the political, cultural and historical issues of France in the 1950s and 60s. In his early films, Godard engages the political and aesthetic strategy of much of French philosophy and avant-garde: the playful and often self-contradictory project of resisting the spectacles of modernity, while transforming the everyday. The author contends that this project constitutes what Jameson calls the political unconscious of Godard’s early work. To sketch this unconscious, the author refers to the larger context in which philosophers, cultural critics and filmmakers take issue with notions of the everyday, spectacle, style, resistance, festivity, consumerism, as well as with the signs of postwar modernity such as cars, modern households, traffic, polls and movies.
改造时代的日常景象:让-吕克·戈达尔对现代性的艺术和政治反应在他的早期作品
戈达尔1968年之前的电影通常被认为是纯粹的风格实验,好像这些电影只不过是某种前卫电影的艺术历史例子。相反,作者认为,戈达尔在其早期电影中经常疯狂的电影实验可以被理解为对20世纪50年代和60年代法国政治、文化和历史问题的反思。在他早期的电影中,戈达尔运用了许多法国哲学和先锋派的政治和美学策略:在改变日常生活的同时,抵制现代性的奇观,这是一个有趣的、经常自相矛盾的项目。作者认为,这个项目构成了詹姆逊所说的戈达尔早期作品的政治无意识。为了描绘这种无意识,作者参考了更大的背景,在这个背景中,哲学家、文化评论家和电影制作人对日常、奇观、风格、抵抗、节日、消费主义等概念以及战后现代性的标志(如汽车、现代家庭、交通、民意调查和电影)提出了质疑。
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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