Althoughitdoesntactuallyemploystopstartmotion,itspushingofthecinematicimageoutof

andbeyonditselftothepointofabstraction(thesansimage)andtosomethingmorepoetic,
evenmusical,markstheculminationofanintensiveperiodofcinematicexperimentationby
Godardinspiredbythederealisingtechniquesofvideographicmontage,fromSauvequipeut
(lavie)(EveryManForHimself,1979),whichwasalsoareinvigoratedreturntothebodyand
thehomelandofgesture(Agamben),tothedistortionandtransformationoftheartimagein
Passion(1981)andScnariodulmPassion(1982).Page43

Onthesoundtrackwehear:(eIndividualshuddered)andinanalpiercingthroughof
thedreamsborder,withanalshatteringofeverysortofimage,inalastshatteringof
memory,thedreamgrew[...]hegrowingwithit:histhinkinghadbecomegreaterthan
anyformofthinking[...]itbecameasecondimmensity[...]itbecamethelawthatcaused
thecrystaltogrow[...]statedinthecrystal,statedthroughmusic,butoverandabove
that,expressingthemusicofthecrystal.Atthementionofalastshatteringofmemory
thebarbedwirewithdrawsoutoffocus,beforebeingonceagainrestoredtofullfocus
withthephraseasecondimmensity.isarrestingplansquenceaplayofshiing
movement,countermovementandredenitionwithintheimagecomestoanendwitha
returntoRingerandChichininthestudiopeeringupintothearticiallight.Page44

Inthesecondcase,however,astheimagecomesbackintofocus,wehearsynthesizersin
freeow,asifthesoundandimagewerenowworkingtogetherinmutualdilationand
distension:theimagecomesintobeingthroughthesurgeofsound.Musiccanhelp
restoreobjectsintofocusandbringthembacktolife.epassagefromBrochitselfbrings
thethemeofmusicdirectlytotheforewithitsutterlymysteriouschiasticsoundingand
selfextendingphraseaboutthedissolutionofthoughtanditstransformationintoa
secondimmensity:it[histhinking]becamethelawthatcausedthecrystaltogrow[...]
statedincrystal,statedthroughmusic,butoverandabovethat,expressingthemusicof
thecrystal.Hence,theideaofdecreatingtheimage(analshatteringofeverysortof
image)ismatchedpreciselybytheadventofthemusicofthecrystalonthesoundtrack.
(Itisacrucialfactthatalthoughthevisualimagemaysometimesappearblockedby
repetitioninSoignetadroite,thesoundtrackofvoiceandmusicalwaysseemstobe
movingforwardsandcontinuouslyevolvinginaliveprocessofcreativityand
annunciation.)Page47

InSoignetadroite,asinBroch,thepotentialforacceleratingintensityandamplication
avoyageintoeverdeepening,resounding,enveloping,penetrating,radiating,
vibratingprofundityandemotion,orrayonnementappearsinexhaustible,liketheow
ofmusicitself.Page48

ItisnotjustthatRingerherselfembodiesthis,forthereasonsgiven:musicisaliminal
movementatthefrontierofthesenseswheretheimagebecomeslightandsilence
becomessound.elawofmusicsubsumesallotherslanguage,repetition,fate,dreams.
Page49

Foritisnotanexpressionofanythingspecicbutratheraneventofpuregestureandaect
happeningnowinthefilmicpresent.issuddenboltofenergyandsensationpresentsthe
imageasauniquelycinematicsequenceofeditedmotionintime,andthereissomething
preciselymusicalaboutit,inthesensethat,asIvearguedelsewhere,musicenjoysa
concreteandplasticstatusinGodardandcanoperateautonomouslytospringeternally
afreshintime.Page54

Cinematicgesture,orthemysteryandauraoftheimageincinema,istakenalways
beyondastrictlyphysicalleveltosomethingincreasinglyabstract,onthebordersof
musicandoperatingaspureaffect.Page56

(Silence,Gesture,Revelation:eEthicsandAestheticsofMontageinGodardandAgamben
JamesS.Williams).