RETURNING AN IMAGE : yl Verto te mostmocent questo cones al he esaices ended pe Scum ten rete once no real capes hing tone agen ude hing” al apes be TE imehetCenen” ost vorbe~ according to Water Bnjarn' understanding when conerting ot cet ot the pedegogel pacer of Bartok Brechin haope montages! tor encing a 2 mom ate von of ee come tng cle mages chveye tek Srowmnanawrar,, fr example, to atkoneot again pecs what an mage isthe nape of egw asemprarnmmenanee _olwhlover apoce oer temas oto wo, rogues othe bro acs that, faye Gecee Serre rato be san ortho reproveriatons hl fret emerge. Tis question hs, athermor, Eorptwarmapts theadanage of aang erst nthe ho of rag, whch sander na aoe SN a Son. An aly, thr the vry basi uection ~ the ver iltonsoned question n ‘ely ard Ivan to pot quston~ of knowing © whom te krages belong. We {im Pines one ize 88/10 ake a photo. But from whom do wo take that which we fake? Do we rely Seca te fm beep? And should we rot tu oie rghit owner? Inte anclent meaning relting to he pola antropology ofthe Rowan war nthe tire of the Republi, he mage lasting asco fr the moment the Grook ein, whch is another story poses the question of ong and that oe resto. The late "takes" a mold rom the fac the dea, belra the mols ie akon ay” and ot wax poured ino tin order to btn an epreasion nd, ian new chien n he fry aka 5 heme wth the the mages of thai ancestos futhor models must be “ako” that ‘mage, eproducedin te way, might cary out ts qeneslogc! and honose ras 5 misson. Given tat the image, inthis eens, al the sare tre the obec ofa private eat =the forefathers, te dead, tho famly~ and n abet ofa pubic c= the "ight 'o'mages being gen ony accrding to he place thatthe forefather occupies inthe 1 putea, athe exhibiion of megins bang «pubic spectacle nthe content of undertakers or bur uals ~ we cane hat reduces th quote of rsembianoe sie ay “aati” sphere as wich kappoars rather asthe abet ofthe pte body (te tace of tw one whose image i crated) gen back ote spor of public? \whoro does this matter stand today? nan arle on patie in the age of achricl images, Vidm Paserdoscrboe the sulin at flows: “Before, formation wae published inthe pul space and opie nad ese their homes to gan access to it Thoy wer, whatho thy lhad tno, "plc engaged Tod nfermation x transmited direct fom pate pace oprvete space and peopl meat lay at hame to gain aocss tot... They experiance spoil disengagement becave the public pce or forum no enge serves any purpose nhs sense we clam that the potesl is dead and hat story opens onto post nor, where noting progressns and where, imply ating hapoans." We cult say lg ta the pring ion procuced by ‘ns “lat apparatus” of images hat nthing came fo pas in the wore that has ‘ot come o pass trough tlevisen ‘What must be done o restore something othe pubic ephare beyond the its impouod by hat apparatus? One must establish the romain: ane must go and 73ha ‘We arewvictorious! ihe TV is with_us! {ake rm he institutions what hey donot want to show - the soaps, rele and Ie rotuee the orgoten or censored mages ~ nonce ta rector them tthe right fu cwmertats, othe “pube Yo the conmunty of liaene. The ac of estore ‘act what Harun Fark does whe he shows ui is is orinetaaton, colle fens of mages hat were ot eignally intended to be made pu, For example, 7‘ Ao Image (1989) we toe the siw manutactuing ~ a todleus ints 2a ve as ary fan ree. process of ctranship aan om the ouaida~ ofan aoticimage for Payboy mag ‘ald beastie ion _azine; in Vidvograms of a Revolutin (1982, fig. 35) we have access to the potticl Gramineae oyertyawing o images in the context of sat television during tho ever in Romanie Seat et 2, in 1980; Gefingnisbicr 2000) we ave mages that nema shoud nove have ne le the archives of cetin Amercan pean The Creators af he Shopping Wordle (2001 we tacover matting dcisons tat intend to have us expated bythe super ‘maka and in mmersion (2008, fig. 98) Frock gives us th mea to tke postion on cartain tary techncues of psychic thorapy conceived so tha! we never ha trailer, whether we experiance thom or ao unaware of ther. Haun Farackis ten questioned sbout his wy of aking, of obtaining, of manus ing these “operating images of he some, commercial sper, polis, miltary word “Whore di you get hove maria?” we ask nto wtih he apes mache ‘eu er wth him machevousnaes ane humor ae always ad up with exact and ‘ficincp, "eo not have th right 088. Yes, te you medio. Bute ays ‘omthing la ade caeul to empl how he fds and Row betes the images tat he shows us recent asted fir the etme queton, eating on the jos ‘epect. He od me that he orded to use the ight of ation whieh fat protects ‘no doubt erically = th word of art. He brought up the example ~ vil example inns own opinion ~ of Ewin Laie, wo wae obliged rh im Mein Kame, 0 pay ‘hts to Lei Fsfenstal as thcugh, he say, th Nazis profed fom the ciism of Nazim.” He also mentored the public damsin of American law, He eval to me ‘hat he hed to buy the rig othe imagos rom Romanian toi, but fx stant sum of money give the ty hours hat meko up the archive fs goer he: ‘ea on afc tht inagee which are eres to hin ute olen see, sma Seemtaumisesine, fal tobe devi of any nore fo hos wo posses thom iis ebnousy by moans Heese tate ie, oieremorage ate aan nem gerry epee way o> ewetiomtnegnte ng om ~ of rendering fom, whic suggests bath he Vanlometon of an abet Spout tivesion (détouremend vaed prevousy bythe Statoil apd, sca then, bythe ; various practitioners othe sane stn aman at TR suggestion by Hal Foster ngs the question even more int focus, er ts Sibtocame “dy Ware's way of woseng whic seve har, nate ofthe “Brecht ands? : recognized i the nmakers werk Like Wao, Foster expan, Farock “anna thr aa, Th Ot found mages." xt fo anner mean precisely “o make somatng dependent” and Noceitrie wan Der” aad ragardng « population ora taitory tha has boon conquord by the mary, Eritrean for example the Alvar colonized and erlved by those who “amare ht Tre montagas ef Haran Frock therefore have very ° session sn ‘of Ronan mancipum, a8 when ona buje someting ~ or even somecne nade o NORESSSTMSIMhat* ——clapooe ot itas ane wahes, or accoring o one's ght Se st on Everything thet Warhol ook he kept i hi possascon. He only ever return some Mere ee er eetN in, or rndred toreathing, oda fo el i, He ipod ot on he wished and Seger ox Wh” lame the gto disconnect ts tr? we aren now he nage tN ‘Stars of course, but we no longer know the names of the ctr o hi sats, Ey ‘hing he took he anata into a werk of art ed forth work, he tok te copyright which was anathr~ ypc canals ~wayof ensuring the vansmison ofa good, ‘We could ay tat te strategy of Harun Farell enact the oopoate: ti ether he question ofthe cormoty nor hat oat a sh hat deter i decision fo ak, her or there, the imagas at interest hin. What he aan toward, aha, tha dap pearance of coptight nthe fb of vival arctves of history He takes ont lear, Ievertompasa is maker's mak: thus, the women ofthe Auschwitz bum, Images (ofthe Wort and te Inscpton of War, wil never become async or Frock's at re fay he leans about something only ge to knowledge: rotn images to the igh ume that tthe pub good. Aim alo emancoato tem (One ofthe ot famous tet in contemporary seethtice by no cncienoe, related ‘otis question of restitution. isthe chapter writen by Jacques Derrida, i is bok La Vets en Truth Parting, on the debate which et Mart Heidepge, the reat phiozoper of eustonce, agaist Meyer Schapzo, the rat historian of noo Maret art Toreal the gonerel argument ns tet “The Origin of he Werk of [At ~ wten sund 1836-1998 — Heidegger took at an sraple a amous paint ing “by Van Gogh ta roposens @ pai of peasant shoes." Than he mac it an entre pstacgn nord to aay tal rater end form and thor distinction have a Geer ‘ri tan th painting alone ust gaap though ‘alent cal ofthe earn 1068, Schapiro refuted ths examole, Ngrghing fet oa thal he anos panting” emery the mertlsurmary by Helegger of saver! pinenge oy Van Gogh en the same subject and that those “peasant shoes" tat sng the reoing ol the Hsia re inronsty ony the “persona objects’ of the ett nel «Gohan ty wall wan dering hugh the ountysidesround Ales 70» ‘This inp sunnaryasay helps us understand the cently this debate, othe question of rostsion. Dena begin by returning, back obec, alto toate to someone in parila what wo Wich to think fate ato ettsig to the ight ‘nner "The dei fer arbuton Is a dese for apgropriton. Inmates of art oe tis, anywhere de Tosa th thi pining or these shoes) is duo to X. amount oa ings ome, va the detour of het ama! Not ony tha: itis properly {0 euch sr ch, man or woman othe mle or Fema wearer. Bu ts prop. Senn sneane we of Heidegger with the posse and Schapiro withthe oy dwell, of tho former with ° the rota andthe sedentary, he later th ha uproot ema... Each ore sae eae op lowe yeu the eth n painting ad lay ito you. Bt the enphase mute placed ‘7 the debt and on te abe, uh without nat of tat Wht do they both owe, end a. Lavan enpentron t. what mus they pay of ough hie reaion othe shows, the one amin to rela i ‘ham othe peasant, he tert the paint’ ‘What i ood ia ths reasoning is that # keeps the act ofesttusion outside any tution anyone: estute sno! to atbut something to someone eo that he ray annex an gain private right over Resititen mpl nether annexation hot Meavesoenca upside ephe th soqusiton of rape, Aa sen as someting propery belongs isn longer ree iam en _uted. There at, moreover many thinga fo aay about the way in which Dade seks to "d> justia 0 restution a the context ofthe debate Between Schapiro and Her 2 ogg: am biking offs uiatera equ othe “expert in art story, ashe says" ETRE SEY cea with philosopher whos formal o gibt there ites" shines, trough oe ‘tthe tt He a mage formal” But tha ist ane, Hoiogge' ees, the 5 ut Isindood what aio belong erlisivaly to a “Pacple™ whose deleratin owes Dasa Dame ngs the awatonng”dencos an histve sun ~ 1985, the Nuremberg ewe om PRG HELIS vec the nor-roptitrs, the norrooted~ we shoud understand the non Arana® found thamasves excluded" Deri prefer ostomptto understand the gi and its restttn inthe artwork a a at of pleseure” (to nk of Kans tas) oa a" of the aby to eve, event means twisting i Hedeggean cept “The ret pilosoptical tes on at as fara can remember, almost always open, ‘erly oF not, an etical x aoitcal porpctve on he tera of tha asthe non ‘mplmente. That goes for Aratot's Pots there iano at woth anything outside toc st dos for Aberis De pictus theres sono at woth anyhing cutie ec sgny for Kant’ Ctigue of cgmant raat worth ning without here login and mor! questions being ahed again and for Hegel's Aesthetics (no a worth anything wiht tha incrion of hist) Dard’ nveshgetions in a Vor 27 peitureareno except: one cana! formule te aesthetic eoncopt of att te without exaning at soma it he shoe ofthe det and th gt "had old mor humble word oeetabieh he reins batwson thse ret ptilosopial questions, nd the prar feeling acused bythe works of Hani Fark, Imig, spontaneously, peak herein singlets of gonrcety and modes. Garo iy of eturing oro restoingto ake resistin of somethings above al to give bere any exchange, nd even, s Doria suggest, beloe ary stati of being" hao ge without estan. wih rat let ove, without tees, ithe capa, witht ay po ‘e280 approaraton or expropiion tio give ao that th ration othe other tans before any debt an, even, btere sry volo, as Dari suggests, baw the ‘sion rom Emmanus! Lvs” isto ge waout bang oie, orn fees Clemens nd takes tine." ist gv mow han wnat seemingly ad abe promised,® aocering othe Kantian formula ~conceting th poet ~ commented by Dei nthe ecw arts-tcnoinmim Senan ofthe “overabundancs [nhc] geno breaks the crcl econo ft iment a soto The ac thet generosiy nderstood in tha way, should heve anything to do with ‘orerbundance somating George Bstale ro doubt graspes ard Coveloped scope botor than anyone ele Dera ~ trough Hegel Nstzache, ang Mare! Maus, Bata’ on sources ~ roti to tha ide when Ne epeaks fo orale, of the muptve oven! ofthe git or when he cesoribes how tis vert epi exces sve, ad thaefore dangerous, a9 neatd by the double meaning ofthe wors Git (Eecror enna Lacon dy rovaled by Masa and pions ho sare tine,” Why fe poi? aa Because aurance, th encity af the thing restored poston our if, oin any Zz cave complete it fous. Does not inceed become conpicstc to eee exe de, Pet Sic ta for ow on part, ho mages of cur "sat appuratoss” once Farocki hss emanted andres th satay, te dai, er comply ar hi fab oh EAD, gw? Renton downto ut rakes ve rton ad boos ve. Sh “thr expose ale tt Wier Soja aaa ogni et Rinaoomnienemsonct, oot hoy htoyrrdred vale ~ andthe ele “lect! ago” Segetorem mms, ttf hereto Fra core orale cof pct tues i See Ee, tie anpot that wo cod ve ono own a hte teed ery ae He ve tse age ower om ens ne bt wot ov eng emp * crate erode ac ove Waco) He ls wh pao wou oye Seon ‘ec, wot pea noe wo ny Th o sing conmadton De work whan he peaks ofthe ita an rut event” bole sang that "in ordorfor thereto boa gf, the git mst not ven appar, must not be peosived aba git” This modesty doesnot a trom «mere mor vitus he rest ofa pot: cal reloctn an a poeton of knowledge: Frock deinveysubecribes to th act a SEERTCSRTAEBED ns restoros to s, he ake in passing rm cartan istutons ht stent accorng to obvious poner etiatepiee- 10 sport ae an when he return it ous he knows that he i uing ote ght one. Ho a meray he passer: stough thsi ab tee because, order fo pase on” ‘one must pass rough th mash ofa very tight contol nel. He takes no copyright a passing the waren whe pastes by in the Aushts Album or the rapes the Nazi camo of Westerbork donot Belang tothe wock of Faroc. They um tous ony ocause thy wore always cut concer, aed became pat of our common haan ‘Obviously, when his Rertage concer ou ined tory = the ufvabl i nthe gos the visual management of miltary operations in aq tinge become oe This for such ease hat the modesty of thi resto snot without anagreesve ‘ects. The gi of magos made ous by Harun Faocin his way has something o wth what Gigi Aganban cal prfanaton. Caray Faroci doesnt onthe mud the imag he shows and reassemble in montage in hs ins and stators. (nth conta, he shows an enemply respect toward thar he show & maith 0 teapect in err to domanatat thr Eft, or tet moos ofurctonng) But the rospect is a pronation nthe pecee sense restored to toy Agamben: ‘An to conascat'(sacrare) waste tar tainted fin ancient Roman aw] he removal of things rom the sphore of ern aw, Yo profane’ meat, covery oretun them to tne tee use of man Profnaton tis sa sition of tho magos whch he mane ans reasombles na montage ~ 8 uch tha disncants and ota to use what the arudha spared and pin a3Ewrtwonre noon et” Wit this approach Fareoi profane the visual trstagisofinemational commerce rf the contemporary mstary nutty that aby yng, by meas of norpose re montages, 0 abolish and erase soparatons [to tach us Mon] to pu them 0a no set ply wth thom." Ars th how ifn aon, or he mane of waging war, genuine bocomes 2 mater fa us al We shoud not be surprises ¥ GorgaAgar time; "For is teason, we mist eays wrast rom the apparatses (om al Sopa uae) the possi of use tha thay have captured The pronation othe nproan lois te political tok othe coming generation.” ‘This essen modest in Frock tas cect consoquences or the tau his work ss apreducar of at warks sccesible in those place of trl induty called“ Tres and “cours” Fatock'sinatalaone mide up of wo or ever crens no montage by Fark without hang to grasp the consequences chown ugh te entorw.Aaona-Mauding _ongeing werk. Ths inno doubt. 8 pont On which Fark, eerborng the nalable Se ueSmeincrsmse’ 105500 ofthe Dialectic of Enlightenment - would netic scchedimsmrtw fan Ur tated by Adoro i his Aesthetic Theo ‘sete aiete™ Ms The phiccophoy, of cours, delendec great autonomous ain tha, he sid iz socty simply boca tei" natu for which he aa wih ane ee that “tingng of the 2s" whose “rgialphanomenan he recognised inthe ‘prince of ‘onlaga,” ard the undoubtedly ceastous conaequance in a recproal covering up ‘ol acthetc reaty as such, and the numerous on acethetic retin ha uround {Tye mate a a lowe material thts not conned int Own conta to ener by ver away om the path ectoners armen ™ a nemorepaepsosin ae, tng mate steed of mizing ft etre Morea‘ became ia) athng wong hing a soting we cow not ha Ac Soloreesess rt wrong, of couee, What hay about Boke or xa, oop wo aero at ceasing etm, Sheng an his wivance. But he ira ondons have hanged, nla on te ELEMENT" el he netuonarelatons between wt sed vot. Tere oom ens, incu weed ty t0 oppose, simply a8 Adorno did, great auonemoxs ar" and "tral nies” Gret st haste become a great cota rdty, the enant of using “inguet ™ Facing ti etustin, between the desatsaton of experimental in hess nd tho insolent welcome ofa ali, taints ethics as resoarcher Pehaps he keope in mind what Walter Bana, in 1820, hiking quite july Bout he place ofthe att ~ and ofthe “dese ast par ercolence th sureast~ inthe etique of society, ealad an orgentzation ofp: Simian by mages. ote poof imagining tat the ett cose rle-ot. without erupting his wor, the posabity af htoruping hie own ats caver (as 2 goad yrontage might inttup the nama course of thing "Fort etgenzepessiisn ‘means noting otor ant axpal moral metaphor om pois ano ecover nthe ‘space of potcl acon the one hundred percent mage apace Thi mage pace, however, an o lenge be messured ou by contain. The att must be made (function) at mpertan points inthis mage space, deed, ight the atenaton of his ‘aris carer perhaps bean eaten part of his now uncon? The jokes he alle wil bette for Anh wil al ther ater" Inthe same yous ~ 1929 101890, ine of gent acanomic snd sci rs inthe world ~ Goo-ges Belle described in i oul Documents the way ard te artistic way of aveng such pessimism: “The ply of man wath hie noting continues inthe ‘mostmaumiul condition whut the one ever ving the courage to face th othe. Ihesers thal we wit neve be ale to lace the randase image ofa cacompestion| whos isk that comes in ory roa i, however, ha very asin fae that we prefer, we donot know why, that of anther whose breathing cow ve beyond (this image we know oly he regatine for, the saps, the tathbrahes, ae al he pharmaceutical products whese accusation aows Us fo eecape wah dl every ‘yo fh and death. Every day we make cusses the doce servants of hase Sy products whic ave tha ely gods moder man, Tha serve 3 fourdin every farun Faro tie, as far a8 loan soe, toa‘Gretna Pace where anormal bing can ail go. Wasnt an at dae’ str just a8 we do a Pharmacy, ooking remedies tha re ricly delayed for acceptable mac est tharlore, “My evagessotk to reach art only consequently at moat * On the subject of a work signifieanty entities Ae You Can See (986) ~ ae not, for crample, As Cue See it~ Harn Frock admits, whout wemyng bau he at te ogo "have bean able ooo on single frm because Iwas ready o abandon ‘th main pst ly shake preoccupations," This statement wovd led one of ie ‘its, Thomas Elsact00 to ea “Freche somewhere Setaon workng ko 8 racine’ ar ‘woking ke an artat"*In any cae, the author of Images ofthe Werk and tho Inserpion of War always manages to get around the dtl radar ‘rth arate “brand nam whose aver increasing emergence anc impart domain of contemporary at, was restored by Moly Nesb (osowing the eral o Maral Duchap) and Dir Semin who embrace mach vaste erp ar, om "Yves Wein o Drie Buren an ear Tinguelyto Hubert Dura] ‘Thetis a model or this modesty of work: ita Rbert Basan, ori hice ofthe Image = "showing hury”~ and fx hs ermal gor, italy c the questions ofthe ‘rams and mortage, Furoci focuses fer ong team the fms of Beeson na tet wien in 1968 ne examined the "tght tame," heute of ont points view at were, however, “alight fume,” and the use of an ange reverent “Bresson cz by using it oven move intense nthe author of Larger, he les tt very precise way of adapting suring hinge, daring movemerts fem snare and contents" Ho describes Un cond & mor sea! Schappé ana genuine don moray on he wesk vee in inventg miniscule! eeponase~ the “ar machines" according to Diaure and Guta ~t the oppress clesng of th “sate apparatus the orsone who) makes mati or escape ovo hing in is el He sharps a spcon handle, he braaks up the wee retin ois bod Fame and wrap te neting vith shes and aga to make cable A lm auch eb ie one lout work ad what work maura has har eve: boon mad.” "Modesty in Fant ofthe werk and magestyof he work = he wok ofthe inage or that of thought inasmuch as it would always be werk on the work of someone oe, Returning as auch haran workin general othe contest ofthe common good, which belongs oro oe in particu. Besson ea, “To contra the precsion. Tobe eset {aninstrument of proosion.. Tobe sorupious, To reject evrything nthe cel hat doesnot become tue (the areious resto the ave" Incomes necessary, hen 10 exlin the infence thats nonetheiss wellknown ~ obious and modesty recaprize bythe German fnmeker~of Gear's grand je" on Hus Farek' work. eo nt wish to maka ita question af ey iuence fe such, but rather a question relive tthe pasion of the one who makes the mon tage win hs own montage (or the worker hi own wor). Volker Prtenourg has 04m very wo! what jens Jea-Lue Goda and Harn Faroe the notion of fim a thaoe in actly Theory whose montage, inthe werk ofboth nen, the procera vot andthe fom par excellence Chita Blumingr has oon proaches the two Fmmakare~ and with weifounced arguments ~ onthe eel of procedure: forex le, oncoming the use of aubheacngs, terul ators taken otlen Fm philosophy 6 often ects by the aoctr timo" Farah davoted an entire work writen \wth Kaj Svrmaa ~ to the cinema of Jean-Luc Godard” As in Goderd,we can 300 ey« in Farock merous books fimad, mary ptopleeang, many gestures ele to tho Sommer one wee yorkat mortage, my reciprocal iterupions oth sage snl the et man 3) moms roumina’ _tleg polical questions, mary inages of tha wold nd war ineepone.. Ad owe tae tempt to conclu tht Farol, who asa inphic descendent of Godard has ‘writen a whole book about theatre work, til abides by this en ofthe ute ea 8 sthpreduong tinaker and arts ne diference aries, however, and induces cis spt. Probably wih cout theking of Goda, Binge mentions hin passing when she remaks that Sencitincm Beret “tough Farol ot aad of incuing own mage, ho operates beyond nai Neon facent eara ‘ate afrevlation“® Not tha Godard digs in any nariseate conterpason?” co tho canter of his own montages. This goes for JUG/LG ight up to Vn fur ass ‘Saga stan “teemetes port inluding, omer, an etrec ofthe canara forthe lm Passion in whion we reas "Ty veur vai, rece vol? (a pay on worse whieh, ransited ino English, ans ed “You went 298, recive Eiichi ids Sre both You want oso fo reso ht Fo (recooir." The questions ashe by ths inclusion of rcciing sing cou be for ” smama, Masled as foons: Do you rei the nage tat you e88 an tht you ros, rege Serta eT Good, and tothe very end? Does it end up being ours, as much mine, having given it ‘Shaw Oocmen carers toyou, a itis your an that ofl those othare among whom # could be itt to (O-to pote he question wth more phosophical precision: Under what condone can 10 any that a maker aucoseds i genuinely retuming what he gives tobe eon? ‘hiss tha euci! question = to borow Godard’ walltnown pass tal woud Setiaslec te ee, maket possbl ta iterate betrcn “making pola! ine” and making Fins meer pala: On thse tha auther of JLG/ILG doesnot seem to spear the tue artthoss to Waral,we née oth poston he setogy of spropiion y thea ‘Sof mages ofthe wold ~ or even of war inscriptions ~ whch ne distibutes around fim. On the one hand, Godard na for long tno adopted the fendamental Boch ‘ian tendeney to quote: he and Frock share this common ground. Furermare, Ne shares wth im ao, inthe curent content ofthe great cultura marl ~ol the soi (of spectacle ~& plea forthe ee crcultionofimages and worde: we eed the words *NO COPY RIGHT” for erample over and again releengy, nthe subheadings of his fim Dour fois cinguante ans de cinoma (1995). (On the aher hand, Godard personaly and osteneytkee possession of the images of he wot and war ngeripions tht he dtabitos aren hin. He neve stops sesring his se: ion, dzsing hth, plays of ual plains. Ferdi laces hie ya, or dose not hess slow evrything down in order 0 Fighight «more modest clety which he soot to merous upon hs matages. Goda vay comes aut rengthned from what he shows Faroe comes ov somewhat ‘faced, Godard crosses the ret istry o rt we enter Godars work as we might have eotered the workshop of Rembrandt or Baethovens stud ~ he wo never ape ‘cononing masterpiece, Farck,on the oer hand, questons amore ebleranc hat of mages wich hae us ret enaning the workshop of stamper er he con trol towor ofan aire contol, Godard cooks be the sovereign autor ahs images away, he projects on the coma a conception of he erst which nat, coma tag am 8 sees stats mvertoa inthe Renlseance. Frock soak o be ~ without enouncng his prtagatvee as autoeseyist~ the nonexclusive producer, thatthe non sve 93{nan te Shien op che. sian rots oi mages: How cud oe be te sce owrogn of hag tat Gna sce oun eveyone? Von Godard ves ocak, he eso rough obo aad, whcer ost inde tr th mile oops thre vee quotes to,se porta one When ae geno tought, he Inka us ik eboveoreting eer han ow oui: God avy este ‘eat word onthe enter whee Fac alas poh fons never hve, fe nt word Godard te wan ne fepreo ga pang i an inpeed vos a rophet's vos wha mlachalo gon Face eine dena ‘Ses apart he montage the wold a ughin he re pereon nua pean ‘aan pois wenn way Imad wth epee patho Bath of he we reonpaaie haces of age: ut when God ‘athe tagrent lator or ur-tbupt un ell te Slama decoeing Toy ard oa hn! dau ana eal th Hemet hina. 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