Abstract

This essay is an interpretation of the work of Jean-Luc Godard: Histoire du cinéma. There are two main objectives of the text. First, to analyze audio-visual mediations on the political construction of memory. Therefore, I will study the way Jean-Luc Godard´s films articulate the cinematographic history of the Twentieth century, inspired by a central motif: the idea of failure and mourning. Secondly, I´d like to establish a dialogue between the ‘pathologies of memory’ – as reported by Godard in critical connection with the mass-media comsuption regime – and the ‘policies’ of the images and montage, proposed by Walter Benjamin an his ‘dialectics of seeing’