ABSTRACT The photographic image—conceived as .at, reproducible, and mobile—is integral to Fredric Jameson's influential description of the postmodern as marking an evacuation of historical thinking. This essay argues that Jean-Luc Godard's early work, and his 1963 film Le Mé;pris (Contempt) in particular, represents a sustained attempt to use images to promote a type of historical thinking for which Jameson's definition of the postmodern, however relevant to Godard, cannot account.
Skip Nav Destination
NICHOLAS PAIGE; Bardot and Godard in 1963 (Historicizing the Postmodern Image). Representations 1 November 2004; 88 (1): 1–25. doi: https://doi.org/10.1525/rep.2004.88.1.1
Download citation file: