{"id":46581,"date":"2019-12-12T12:10:00","date_gmt":"2019-12-12T12:10:00","guid":{"rendered":"https:\/\/visualjournalism.de\/?post_type=image-matters&#038;p=46581"},"modified":"2024-12-15T15:55:20","modified_gmt":"2024-12-15T15:55:20","slug":"wort-bildkritik-godard","status":"publish","type":"image-matters","link":"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/wort-bildkritik-godard\/","title":{"rendered":"Video. Thomas Helbig &#8211; \u201aImage et Parole\u2018 \u2013 Szenarien der Wort- und Bildkritik im Werk Jean-Luc Godards seit 1968."},"content":{"rendered":"\n<div class=\"wp-block-group has-color-5-background-color has-background has-spacing--default\">\n \n\n    <div id=\"lead-in-block_bad366f1cb74498c95eca4dd325d7b14\" class=\"block-lead-in typo--default font-size--xl has-spacing--m width--default\">\n        <h1>\u201aImage et Parole\u2018 \u2013 Szenarien der Wort- und Bildkritik im Werk Jean-Luc Godards seit 1968.<\/h1>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-35292\" src=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1-150x150.jpg 150w, https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1-300x300.jpg 300w, https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1-420x420.jpg 420w, https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1-350x350.jpg 350w, https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1-52x52.jpg 52w, https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1-68x68.jpg 68w, https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1-96x96.jpg 96w, https:\/\/visualjournalism.de\/wp-content\/uploads\/thomas-helbig-1zu1.jpg 500w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/>\u00a0<a href=\"https:\/\/visualjournalism.de\/en\/thomas-helbig\/\">Thomas Helbig<\/a><\/p>\n<div class=\"entry-meta\">\r\n    <span class=\"posted-on\"><a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/wort-bildkritik-godard\/\" rel=\"bookmark\"><time class=\"entry-date published\" datetime=\"2019-12-12T12:10:00+02:00\">12.12.2019<\/time><\/a><\/span> <span class=\"meta-text\"> [IMAGE MATTERS]<\/span><\/div><!-- .entry-meta -->\r\n    <\/div>\n\n\n\n\r\n<div class=\"embed-block has-spacing--xs\">\r\n\r\n    <div \r\n        class=\"embed-block__wrapper ratio-aspect-ratio--16-9\" \r\n        style=\"\"\r\n    >\r\n        <div data-cmms-embed-id=\"4478\" data-cmms-base=\"mediathek.f3.hs-hannover.de\"><\/div><script async src=\"\/\/mediathek.f3.hs-hannover.de\/wp-content\/plugins\/cmms\/assets\/js\/frontend\/embed.min.js\"><\/script>    <\/div>\r\n\r\n    <div class=\"embed-block__caption\">\r\n        \n\n<p class=\"post__paragraph has-spacing--default\"><\/p>\n\n    <\/div>\r\n\r\n<\/div>\r\n\n\n\n<p class=\"post__paragraph is-style-typo--soehne has-spacing--m\">44:52 Min.<\/p>\n\n\n\n<p class=\"post__paragraph is-style-typo--soehne has-spacing--s\"><strong>\u201eDas Ziel war, das Bild vom Ton zu trennen\u201c<\/strong>, antwortete der schweizerisch-franz\u00f6sische Filmk\u00fcnstler Jean-Luc Godard auf die Frage eines Journalisten, der ihn im Rahmen der f\u00fcr die Filmfestspiele von Cannes ausgerichteten Pressekonferenz zu seinem aktuellen Film <em>Le Livre d\u02b9image<\/em> (<em>Bildbuch<\/em>, 2018) befragte. Der als Untertitel beibehaltene fr\u00fchere Arbeitstitel <em>\u201aImage et Parole\u2018<\/em> (Bild und Wort) deutet bereits darauf hin, dass der als selbstverst\u00e4ndlich hingenommene Zusammenhang von Bild und Sprache, der das audiovisuelle Medium Film charakterisiert, hier nicht mehr bedingungslos G\u00fcltigkeit besitzt. Dabei greift Godard auf \u00dcberlegungen zur Wort- und Bildkritik zur\u00fcck, die er bereits 50 Jahre zuvor formuliert hatte. Das Jahr 1968 ist im Werk des Filmk\u00fcnstlers eine einschneidende Demarkationslinie, die sich insbesondere anhand der Filme <em>La Chinoise<\/em> (1967) und <em>Le gai savoir<\/em> (1969) nachzeichnen l\u00e4sst. Der nietzscheanische Nihilismus, der Letzterem seinen Namen verlieh, dient dabei als Ausgangspunkt kritischer Reflexion. Als deren Medium wird fortan das Fernsehen auserkoren. Hier ist insbesondere die Episode <em>Photo et Cie<\/em> bemerkenswert, die Godard zusammen mit Anne-Marie Mi\u00e9ville im Rahmen der f\u00fcr das Fernsehen produzierten Videoserie <em>Six fois deux<\/em> (1976) geschaffen hat. In seinem Vortrag <em>\u201aImage et Parole\u2018 \u2013 Szenarien der Wort- und Bildkritik im Werk Jean-Luc Godards seit 1968<\/em> f\u00fcr das Symposium <em><a href=\"https:\/\/visualjournalism.de\/image-matters\/image-con-text\/complementary-testimonies\/\">image\/con\/text<\/a>. Komplement\u00e4re Zeugnisse im dokumentarischen Diskurs<\/em> widmet sich <a href=\"https:\/\/visualjournalism.de\/thomas-helbig\/\">Thomas Helbig<\/a> diesen verschiedenen historischen Stationen und beleuchtet von dort aus jeweils neu das Verh\u00e4ltnis von Bild und Sprache. <br><br><sub>Begr\u00fc\u00dfung: <a href=\"https:\/\/visualjournalism.de\/anna-stemmler\/\">Anna Stemmler<\/a><\/sub><\/p>\n\n\n\n    <div class=\"btn-wrapper has-spacing--m\">\n        <a class=\"btn\" href=\"https:\/\/visualjournalism.de\/image-matters\/image-con-text\/complementary-testimonies\/\" target=\"_self\">Mehr zu image\/con\/text<\/a>\n    <\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group has-color-25-background-color has-background has-spacing--default\">\n<div class=\"devider has-spacing--none\">\n    <hr>\n<\/div>\n\n\n    <nav id=\"section-navigation-block_7e936430008ab05a45b8ef87db19f6b1\" class=\"section-navigation has-spacing--s\">\n        <ul>\n\n                \n                    <li>Weitere Beitr\u00e4ge zu image\/con\/text:<\/li>\n                \n            \n            \n                        \n                        \n\n            \n\n        <\/ul>\n        \n    <\/nav>\n\n\n\n<div class=\"pinned-block teasergrid has-spacing--m\">\n\n\t\n\t<div class=\"pinned-block__column--left\">\n\n\t\t\r\n<article class=\"post-teaser--two-columns first-post post-35563 image-matters type-image-matters status-publish has-post-thumbnail hentry image-matters-kategorie-image-con-text\">\r\n\t<header class=\"entry-header\">\r\n\r\n\t\t<div class=\"entry-categories\">\n\t<a class=\"post__tag\" href=\"https:\/\/visualjournalism.de\/image-matters-kategorie\/image-con-text\/\" rel=\"category tag\">image\/con\/text<\/a><\/div>\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/complementary-testimonies\/\" rel=\"bookmark\">\r\n\t\t\t<h2 class=\"entry-title\">Komplement\u00e4re Zeugnisse.<\/h2>\r\n\t\t\t<p class=\"entry-excerpt\">Dokumentarischer Diskurs zwischen Journalismus, Kunst und Aktivismus<\/p>\r\n\t\t<\/a>\r\n\r\n\t<\/header><!-- .entry-header -->\r\n\r\n\t<figure class=\"post__image\">\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/complementary-testimonies\/\" rel=\"bookmark\">\r\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"614\" src=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/Buch-image-con-text-768x614.jpg\" class=\"attachment-post-image--medium size-post-image--medium\" alt=\"\" srcset=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/Buch-image-con-text-768x614.jpg 768w, https:\/\/visualjournalism.de\/wp-content\/uploads\/Buch-image-con-text-300x240.jpg 300w, https:\/\/visualjournalism.de\/wp-content\/uploads\/Buch-image-con-text-670x536.jpg 670w, https:\/\/visualjournalism.de\/wp-content\/uploads\/Buch-image-con-text-420x336.jpg 420w, https:\/\/visualjournalism.de\/wp-content\/uploads\/Buch-image-con-text-350x280.jpg 350w, https:\/\/visualjournalism.de\/wp-content\/uploads\/Buch-image-con-text.jpg 1000w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/>\t\t<\/a>\r\n\t<\/figure><!-- .post__image -->\r\n\r\n<\/article>\r\n\n\t<\/div><!-- .pinned-block__column--left -->\n\n\t<div class=\"pinned-block__column--right\">\n\n\t\t<div class=\"grid--two-columns grid--masonry\">\n\n\t\t\t<div class=\"gutter-sizer\"><\/div>\n\n\t\t\t\r\n<article class=\"grid__item post-teaser--two-columns post-42899 image-matters type-image-matters status-publish has-post-thumbnail hentry image-matters-kategorie-image-con-text\">\r\n\t<header class=\"entry-header\">\r\n\r\n\t\t<div class=\"entry-categories\">\n\t<a class=\"post__tag\" href=\"https:\/\/visualjournalism.de\/image-matters-kategorie\/image-con-text\/\" rel=\"category tag\">image\/con\/text<\/a><\/div>\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/komplementaere-zeugnisse-dokumentarischer-diskurs\/\" rel=\"bookmark\">\r\n\t\t\t<h2 class=\"entry-title\">Begr\u00fc\u00dfung zum Symposium.<\/h2>\r\n\t\t\t<p class=\"entry-excerpt\">Wie gestaltet sich das Verh\u00e4ltnis von Bildern und Texten? \u00dcber welche Strategien finden\u2026<\/p>\r\n\t\t<\/a>\r\n\r\n\t<\/header><!-- .entry-header -->\r\n\r\n\t<figure class=\"post__image\">\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/komplementaere-zeugnisse-dokumentarischer-diskurs\/\" rel=\"bookmark\">\r\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"350\" height=\"197\" src=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-350x197.png\" class=\"attachment-post-image--two-column--small size-post-image--two-column--small\" alt=\"\" srcset=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-350x197.png 350w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-300x168.png 300w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-1024x575.png 1024w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-768x431.png 768w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-1536x863.png 1536w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-2048x1150.png 2048w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-1920x1078.png 1920w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-1400x786.png 1400w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-1050x590.png 1050w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-670x376.png 670w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-begruessung-420x236.png 420w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/>\t\t<\/a>\r\n\t<\/figure><!-- .post__image -->\r\n\r\n<\/article>\r\n\r\n<article class=\"grid__item post-teaser--two-columns post-46585 image-matters type-image-matters status-publish has-post-thumbnail hentry image-matters-kategorie-image-con-text\">\r\n\t<header class=\"entry-header\">\r\n\r\n\t\t<div class=\"entry-categories\">\n\t<a class=\"post__tag\" href=\"https:\/\/visualjournalism.de\/image-matters-kategorie\/image-con-text\/\" rel=\"category tag\">image\/con\/text<\/a><\/div>\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/ekphrasis-plain-sight-monster-within\/\" rel=\"bookmark\">\r\n\t\t\t<h2 class=\"entry-title\">The Monster Within.<\/h2>\r\n\t\t\t<p class=\"entry-excerpt\">Edmund Clark &#8211; Bending the Screen: strategies that reconfigure representation<\/p>\r\n\t\t<\/a>\r\n\r\n\t<\/header><!-- .entry-header -->\r\n\r\n\t<figure class=\"post__image\">\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/ekphrasis-plain-sight-monster-within\/\" rel=\"bookmark\">\r\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"350\" height=\"190\" src=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-350x190.png\" class=\"attachment-post-image--two-column--small size-post-image--two-column--small\" alt=\"\" srcset=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-350x190.png 350w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-300x163.png 300w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-1024x556.png 1024w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-768x417.png 768w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-1536x835.png 1536w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-2048x1113.png 2048w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-1920x1043.png 1920w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-1400x761.png 1400w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-1050x571.png 1050w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-670x364.png 670w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-clark-420x228.png 420w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/>\t\t<\/a>\r\n\t<\/figure><!-- .post__image -->\r\n\r\n<\/article>\r\n\r\n<article class=\"grid__item post-teaser--two-columns post-44341 image-matters type-image-matters status-publish has-post-thumbnail hentry image-matters-kategorie-image-con-text\">\r\n\t<header class=\"entry-header\">\r\n\r\n\t\t<div class=\"entry-categories\">\n\t<a class=\"post__tag\" href=\"https:\/\/visualjournalism.de\/image-matters-kategorie\/image-con-text\/\" rel=\"category tag\">image\/con\/text<\/a><\/div>\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/photography-in-purgatory\/\" rel=\"bookmark\">\r\n\t\t\t<h2 class=\"entry-title\">Joan Fontcuberta.<\/h2>\r\n\t\t\t<p class=\"entry-excerpt\">about current research on damaged photographs.<\/p>\r\n\t\t<\/a>\r\n\r\n\t<\/header><!-- .entry-header -->\r\n\r\n\t<figure class=\"post__image\">\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/photography-in-purgatory\/\" rel=\"bookmark\">\r\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"350\" height=\"197\" src=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-350x197.png\" class=\"attachment-post-image--two-column--small size-post-image--two-column--small\" alt=\"\" srcset=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-350x197.png 350w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-300x169.png 300w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-1024x577.png 1024w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-768x433.png 768w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-1536x866.png 1536w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-2048x1154.png 2048w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-1920x1082.png 1920w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-1400x789.png 1400w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-1050x592.png 1050w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-670x378.png 670w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-fontcuberta-2-420x237.png 420w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/>\t\t<\/a>\r\n\t<\/figure><!-- .post__image -->\r\n\r\n<\/article>\r\n\r\n<article class=\"grid__item post-teaser--two-columns post-44334 image-matters type-image-matters status-publish has-post-thumbnail hentry image-matters-kategorie-image-con-text\">\r\n\t<header class=\"entry-header\">\r\n\r\n\t\t<div class=\"entry-categories\">\n\t<a class=\"post__tag\" href=\"https:\/\/visualjournalism.de\/image-matters-kategorie\/image-con-text\/\" rel=\"category tag\">image\/con\/text<\/a><\/div>\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/readability-context-reinterpretation\/\" rel=\"bookmark\">\r\n\t\t\t<h2 class=\"entry-title\">Panel Discussion.<\/h2>\r\n\t\t\t<p class=\"entry-excerpt\">Found in Translation<\/p>\r\n\t\t<\/a>\r\n\r\n\t<\/header><!-- .entry-header -->\r\n\r\n\t<figure class=\"post__image\">\r\n\t\t<a href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/readability-context-reinterpretation\/\" rel=\"bookmark\">\r\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"350\" height=\"196\" src=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-350x196.png\" class=\"attachment-post-image--two-column--small size-post-image--two-column--small\" alt=\"\" srcset=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-350x196.png 350w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-300x168.png 300w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-1024x575.png 1024w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-768x431.png 768w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-1536x862.png 1536w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-2048x1150.png 2048w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-1920x1078.png 1920w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-1400x786.png 1400w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-1050x589.png 1050w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-670x376.png 670w, https:\/\/visualjournalism.de\/wp-content\/uploads\/ict-found-in-translation-420x236.png 420w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/>\t\t<\/a>\r\n\t<\/figure><!-- .post__image -->\r\n\r\n<\/article>\r\n\t\t<\/div><!-- grid--two-columns -->\n\t<\/div><!-- .pinned-block__column--right -->\n\n<\/div><!-- .pinned-block -->\n\n\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>44:52 Min. \u201eDas Ziel war, das Bild vom Ton zu trennen\u201c, antwortete der schweizerisch-franz\u00f6sische Filmk\u00fcnstler Jean-Luc Godard auf die Frage eines Journalisten, der ihn im Rahmen der f\u00fcr die Filmfestspiele von Cannes ausgerichteten Pressekonferenz zu seinem aktuellen Film Le Livre d\u02b9image (Bildbuch, 2018) befragte. Der als Untertitel beibehaltene fr\u00fchere Arbeitstitel \u201aImage et Parole\u2018 (Bild und [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":46815,"template":"","tags":[],"image-matters-kategorie":[177],"class_list":["post-46581","image-matters","type-image-matters","status-publish","has-post-thumbnail","hentry","image-matters-kategorie-image-con-text"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.2 (Yoast SEO v27.2) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Szenarien der Wort- und Bildkritik im Werk Jean-Luc Godards<\/title>\n<meta name=\"description\" content=\"Thomas Helbig widmet sich den verschiedenen historischen Stationen in Godards filmischem Werk und beleuchtet dessen Wort- und Bildkritik.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/visualjournalism.de\/en\/image-matters\/image-con-text\/wort-bildkritik-godard\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Video. 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