| The thesis attempts a re-evaluation of some of Jean-Luc Godard's lesser-known work, from Ici et ailleurs to his latest For Ever Mozart. The thesis avoids interpretation and instead aligns Godard with the major practitioner of what has come to be known as "Fiction-Theory", namely Jean Baudrillard. Using Baudrillard's notion of seduction as a theoretical template, the thesis asserts that Godard's films eschew any notion of what Baudrillard calls "productiveness", and as such they always remain outside any shared notion of "meaning" or "value". Thus the films become their own theoretical basis for existence, provoking contemporary film theory with their seductive indifference. |
