AbstractIn Praise of Love's disjointed structure drives the viewer to perceive non-linear connections between its elements that then associate its critical account of the contemporary West with the forgotten and compromising truths of the Holocaust and fascism. Godard's style frustrates because it remembers our history as one that must rupture any narrative, resisting the formalization of the present as the conclusion to a fictional past and exposing its openness to change.
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Review Article| December 01 2004
In Praise of Love (Éloge de l'amour)
Film Quarterly (2004) 58 (2): 36–44.
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Michael Sofair; In Praise of Love (Éloge de l'amour). Film Quarterly 1 December 2004; 58 (2): 36–44. doi: https://doi.org/10.1525/fq.2004.58.2.36
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