The article focuses on Godard's self-thematic films and on questions about the status of cinema in an era of the advancement of new technologies. In her analysis of Godard's films, the authoress tries to define the concept of 'self-thematic cinema' and to trace the peculiar deconstruction (understood as factorization) of a cinematic work performed by the French filmmaker. She is, first and foremost, interested in the diagnoses of cinema made by the director of 'Breathless' in the period in which many filmmakers, including Godard, pronounced the death of cinema while theoreticians of culture yet again discussed a 'crisis of representation'.
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