Page - 92 - in JRFM - Journal Religion Film Media, Volume 04/02

Revisiting the Relevance of Conceptualism of Godard’s Film | 91www.jrfm.eu 2018, 4/2, 83–113 whereby one hands over one’s authority, forsakes the role of a despot and humbly joins creative forces with multiple others is the only one that deserves the epithet of authentic when it comes to the art of filmmaking. For to become a filmmaker is to renounce any cravings to directly copy one’s visions onto the screen and be aware that whatever the vision one wishes to have projected on the celluloid tape, the result will always be 1+2+3=4,21 as Godard put it in the attempt to say that the actualization of the abstract in the cinematic realm al- ways entails a partial fading of the abstract. Also, when he combines the images of bomber aircrafts and atrocities of fascistic regimes caught on tape with the word “Tout”, that is, “Everything” as the answer to the question, “What does cinema want” in Histoire(s) du cinéma: La Monnaie de l’absolu, he insinuates the same point, namely spiritual, if not material fatalities whenever the film- maker despotically aspires to copy one’s inner visions onto the celluloid tape without any input of Nature and/or other people. Therefore, what the directo- rial element of the art of cinema teaches is creation in convergence with other people’s visions and propensities. “False love means I don’t change; true love means both you and I change”, says Juliette in 2 ou 3 choses que je sais d’elle, describing the essence of the art of filmmaking bona fide: one must not rigidly impose one’s ideas onto the crew and the actors, but must live and change with them, making every take a surprise, a step leading in an unknown and unfore- seen direction. 21 Godard 1968, 242. Fig. 5: 2 ou 3 choses que je sais d’elle (Jean-Luc Godard, FR/IT 1967). The movie marks a turning point in Godard’s career, for it is his first cinematic essay in which images are accompanied by the narration using his own voice and in which characters are repeatedly directed to break the fourth wall by gazing directly at the camera and introduce themselves to the viewer.