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.

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