Palabras clave
Gilles Deleuze
Montage
Theories of the Image
Ici et ailleurs
Cómo citar
Resumen
In the 1970s, Godard used the term “trademark image” to designate emblematic images that acquire power by means of circulation in the regime of visibilities; this circulation has made them part of history, contributing to collective historical consciousness composed of mechanically reproduced images. The problem is that trademark images simplify the facts; they are images made out of events conceived to circulate in the first place in the mass media. These images are incomplete, carry solidified meaning and embody fixed signifiers. For both Gilles Deleuze and Jean-Luc Godard, an image, including a film image (and especially a trademark image), is always incomplete because when perceived, only one of an image’s faces is made accessible to consciousness. With his montage method of the “in between,” Godard means that prehension equals images and the whole that is stored in them. Godard’s method of the “in between” is operative and exposed pedagogically as the matrix of his 1974 film Ici et ailleurs.
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