Using Jacques Rancière’s concept of aesthetic regime and Felix Guattari’s concept of semiotic domination, we try to consider a different historicization of Jean-Luc Godard’s filmmaking. Rancière’s concept of aesthetic regime covers wider and more far-reaching transformations of art that go beyond the traditional historical periodization. Godard’s films are political not because of the representations of certain political themes, but due to a continuous politicization of the film image. We will demonstrate that Godard’s films constantly question the positioning of film within the structure of semiotic dominance as put forward by Felix Guatarri.
The integral (Slovenian) version of this article can be found in the printed KINO!