Publication Date

April 2018


Matthew Garrett




English (United States)


This thesis explores the intersections among text, image, and politics in the work of Jean-Luc Godard, Harun Farocki, and Chris Marker. These three filmmakers, all European Marxists with roughly contemporaneous careers, use montage to complicate the boundaries between written and visual language, inventing new ways to make dialectical films in the process. Using the concepts of metaphor and metonymy in editing from psychoanalytic film theorist Christian Metz, I trace the development of each filmmakers? use of montage, from their 1960s revolutionary films to their late 2000s new-media experiments, in order to show how their films maintain a revolutionary spirit long after the possibility of revolution faded away. Mapping the convergences and divergences of their practices, I analyze the interpenetrating form and content of their work to discover what it says about politics, film, and language.



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