Arresting ‘Language,’ Dwelling in Reality: Reading Jean-Luc Godard's 2 or 3 Things I Know about Her
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Jean-Luc Godard has persistently and passionately sought “a new alphabet in the language of cinema,” which he related to filmic language and genre as well as other sonic and visual “languages.” One of his early films, 2 or 3 Things I Know about Her (1967), illustrates well Godard's predilection experimenting with filmic language and posing questions about language. The film centers on Juliette, a middleclass housewife living on the outskirts of Paris who at various times assumes other identities, as the actress Marina Vlady and Paris itself. Following her during her daily routine, the film repeatedly superimposes questions about ‘her’ in various modes: through subtitles, Godard's own voiceover narration, and her own contemplation. In so doing, the film engages Juliette with questions of language, meaning, and subjectivity that arise in various philosophical traditions, including (post)structuralism and psychoanalysis. Nevertheless, the film seems to reach an impasse in its search for ‘her,’ thereby revealing the complexity embedded in the question of how language conveys meaning and knowledge.
Abstract
Jean-Luc Godard has persistently and passionately sought “a new alphabet in the language of cinema,” which he related to filmic language and genre as well as other sonic and visual “languages.” One of his early films, 2 or 3 Things I Know about Her (1967), illustrates well Godard's predilection experimenting with filmic language and posing questions about language. The film centers on Juliette, a middleclass housewife living on the outskirts of Paris who at various times assumes other identities, as the actress Marina Vlady and Paris itself. Following her during her daily routine, the film repeatedly superimposes questions about ‘her’ in various modes: through subtitles, Godard's own voiceover narration, and her own contemplation. In so doing, the film engages Juliette with questions of language, meaning, and subjectivity that arise in various philosophical traditions, including (post)structuralism and psychoanalysis. Nevertheless, the film seems to reach an impasse in its search for ‘her,’ thereby revealing the complexity embedded in the question of how language conveys meaning and knowledge.
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