ABSTRACT
This chapter studies the use of the enunciative device of the diptych in four Godard’s works: Camera-Eye (1967), Ici et ailleurs (1976), co-directed by Anne-Marie Miéville, Scénario dufilm Sauve qui peut (la vie) (1980), and Scénario du film Passion (1980). It shows how the Godardian essay film is born, evolves, and consolidates from this device. The reflection on audiovisual creation progresses through the works based on the method of scientific experimentation: to observe the mistakes revealed by a film in order to correct them in the next piece. Thus, the audiovisual thinking that rethinks cinematic creation evolves, progressively facing the conflicts that this filmic form imposes, showing its organic nature through the oscillation between emotion and reflection.
