Seite - 96 - in JRFM - Journal Religion Film Media, Band 04/02

Revisiting the Relevance of Conceptualism of Godard’s Film | 95www.jrfm.eu 2018, 4/2, 83–113 In addition, we should strive to revolutionize the scientific writings in the same way Godard revolutionized the art of cinema, that is, by creating works that implicitly question and criticize its trends and clichés while feeding on im- provisatory imaginativeness and anarchically disobeying any established prin- ciples and precepts, having no beginning or end in the classical sense of the word, like Histoire(s) du Cinéma, but rather being mishmashes of impressions and ideas that magically trigger the pathways to enlightenment in the viewer. Godard’s Tout va bien (with Jean-Pierre Gorin, FR/IT 1972) was to a great extent his protest against the brevity demanded of public commentaries, the reason why the striking workers deliberately deliver irksomely long monologues to the camera; similarly, my writings in which each sentence strives to be a universe unto itself are also a revolt against the expressional vulgarity of the modern Twitter age, wherein no elaborate unwinding of the threads of thoughts from here to the Moon is given space to in public forums, wherein snappy news has taken the place of lengthy social analyses, wherein daily communications come with the incisiveness of a knife rather than with the softness for the soul of a poem or a symphony that takes time to open, develop, and close, and wherein the characteristically Americanized simplicity of sentences has fully eclipsed the rollercoaster strings of words, with endless ups and downs and no end in sight, that typified the works of Hegel, Kant, Faulkner, Joyce, Kerouac, and many oth- ers, alongside this very sentence that is just about to come to its end. Still, un- like Godard, who openly admitted that he was a more skilled film critic than a filmmaker,31 in the sense that he more efficiently shook the art of cinema than human hearts with his cinematic works, the ideal I impose onto myself and dis- 31 Cavett 1980. Fig. 7: Vivre sa vie (Jean-Luc Godard, FR 1962): Interdisciplinary inclinations that extend beyond the boundary of natural sciences and into the sphere of arts and humanities are seen these days as acts of promiscuity in need of severe reprimands by the scientific authorities. In spite of their belief that such ventures to the other side of the globe of human knowledge must compromise the quality of the science that such adventurers are capable of producing, the feeding of artistic senses and the viewing of science from socioeconomic, geopolitical, theological, and other perspectives can be powerful motivators to sustain its excellence.