In Histoire(s) du cinéma and other recent works, Godard shows resurrection as the turn from “non-response” to response, and from amnesia to impossible remembrance. The turn is made possible by passion, which is configured as image of hysteric bending and of silent crying. At the bottom of those passive images lie the figures of the so-called “Muslims” (dying Jew) in the Nazis’ concentration camps. Godard tries to give resurrection to the “Muslims” through deceptively doubled “forms”; he even tries to imitate the face of a dying Jew with his own face and bring it to uncertain life (Notre musique [2004]). This imitation will ultimately be duplicated on the spectators’ bodies in reverse, through the passion of cinematic experience.
— Kei Hirakura, Godard’s Method(s): Abstract (5), INSCRIPT Inc., 2010
— Kei Hirakura, Godard’s Method(s): Abstract (5), INSCRIPT Inc., 2010
