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Film Modernism$
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Sam Rohdie

Print publication date: 2015

Print ISBN-13: 9781784992637

Published to Manchester Scholarship Online: May 2016

DOI: 10.7228/manchester/9781784992637.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 29 July 2021

Pop

Pop

Chapter:
(p.164) Pop
Source:
Film Modernism
Author(s):

Sam Rohdie

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781784992637.003.0041

Pop Art reached out not to real things but to images of things, and its aesthetic discipline has consisted in seeing objects as images or sculptures, so that the Bowery or the suburban kitchen becomes for the Pop artist an art exhibition ready for shipment to the international chain of art showcases. Basically, Pop Art is ‘found’ art, done over, but preserving its original appearance. Its most potent effect is the hallucination of mistaking the street for a museum or like the astonishment of Molière’s character on learning that he has for a lifetime been speaking prose, but is unaware of it. All the images in Histoire(s) are almost entirely cited, found images, as are its sounds and speech. There are no real things in Histoire(s), but rather pictures of things, duplicates of things. It is these images and duplicatins, the citations, that are concrete. The close relation in Godard’s films between fiction and the real, the character and the actor, the object and its representation, History and history is like Pop.

Keywords:   images, duplicates, citations

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