Bardot and Godard in 1963 (Historicizing the Postmodern Image)
Bibliographic Data
| ID | 4369692 |
|---|---|
| Authors | Nicholas Paige (0000-0002-2781-3517, corresponding author) |
| Year | 2004 |
| Volume | 88 |
| Issue | 1 |
| Pages | 1-25 |
| Publication date | 2004-11-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Representations (JOURNAL) |
| Journal identifiers | ISSN: 0734-6018 • E-ISSN: 1533-855X |
| Publisher | University of California Press (PUBLISHER • US) |
| DOI | 10.1525/rep.2004.88.1.1 |
| OpenAlex | W2001672282 |
| Language | EN |
| References cited | 3 |
The photographic image-conceived as .at, reproducible, and mobile-is integral to Fredric Jameson's influential description of the postmodern as marking an evacuation of historical thinking. This essay argues that Jean-Luc Godard's early work, and his 1963 film Le Mé;pris (Contempt) in particular, represents a sustained attempt to use images to promote a type of historical thinking for which Jameson's definition of the postmodern, however relevant to Godard, cannot account
Aesthetics · Art · Art history · Contempt · Literature · Political science · Postmodernism · Italian Fascism and Post-war Society · Law · Philosophy · Photography and Visual Culture · Visual Culture and Art Theory
| Citation velocity | historical |
|---|---|
| Highly cited | No |