Godard's exploration of the role history plays in determining the modern world, how it is a basis for defining what we are and how both collective memory and individual memory shape a person's psyche because what is memory if not a history of one's personal experience. It suggests the past and present are indistinguishable because of one's severe influence on the other and imperfections of human memory
Godard's color strategy was a director response to Spielbergs use of black and white evoke the past, but Godard doesn't merely want to react to the way color is used in that film. In his film, the protagonist sees differences in the past and modern world, pickpocket and The Matrix, but gradually realises in the end that it is near impossible to distinguish between two different time planes or periods, because of one's impact on the other both in the case of history and memory.
Godard analyses the modern world with cold precision, analysing capitalism and state of art nowadays, and later rebuilds the past from the present to build his argument, in which he is not merely scoffing at the modern world, but attempting to form a relation between it and the past and contrast both the worlds. Godard's contempt at Americans is not merely because of the American film industry's commercial interests but because according to Godard Americans don't have any common basis like a history or a common identity to define themselves since most of the American people are actually of American descent, and actual natives to America were ruthlessly slaughtered by them in purpose of serving their capitalist interests.
It is also an exceptionally sensitive love story in the sense that it talks about love itself in a extraordinary tender and personal manner and against this personal story Godard refracts the a larger historical narrative to play this individual memory against suggesting that it is both a basis for definition for people individually and for a community as a whole and about history's continuous inhabitance in the present, as a presence in modern ideas and concepts.
Godard analyses the modern world with cold precision, analysing capitalism and state of art nowadays, and later rebuilds the past from the present to build his argument, in which he is not merely scoffing at the modern world, but attempting to form a relation between it and the past and contrast both the worlds. Godard's contempt at Americans is not merely because of the American film industry's commercial interests but because according to Godard Americans don't have any common basis like a history or a common identity to define themselves since most of the American people are actually of American descent, and actual natives to America were ruthlessly slaughtered by them in purpose of serving their capitalist interests.
It is also an exceptionally sensitive love story in the sense that it talks about love itself in a extraordinary tender and personal manner and against this personal story Godard refracts the a larger historical narrative to play this individual memory against suggesting that it is both a basis for definition for people individually and for a community as a whole and about history's continuous inhabitance in the present, as a presence in modern ideas and concepts.