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.

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