My paper will be to contextualize Godard's quote describing a collapse between audience and film ("at the cinema, we do not think, we are thought") using a discussion of ideology, Ranciere's ignorant schoolmaster, Deleuze and Michael Witt's discussions of Godard's work in relation to metaphor and then to show how this position not only generally informs his films but also -and here's the hypothesis- that this position has a direct effect on Godard's narrative, or better, filmic structure. The premise is that it is not enough to say that Godard tends to eschew traditional narrative, but that he does so in particular ways (and perhaps somewhat systematically) to arrive at his unique film rhetoric that is largely determined by the annihilation of distance in his epistemology and all its aesthetic consequences. I might be looking more closely at 2 or 3 things, Ici et ailleurs, Le gai savoir, and Notre musique.
-Jerry Prokosch
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