He continues: “Godard consciously treats film as a network of intertextual citations, a space where language and images, produced ad infinitum, are made to circulate like goods and currency. Seberg’s character, a television journalist making “cinema verité,” can’t stop filming the counterfeiter, who accuses her of stealing. Questions about the truth of money and the truth of images hover throughout the film. The American filmmaker, “mobilized to methodically organize the advancement of the spirit of generosity,” is met with skepticism and left at a loss—she can only continue to film, as Godard reads Shakespeare’s lines about the world as stage in VoiceOver.”
“I don’t know if “my” image necessarily needs to interface with the film in depth. It’s only one of at least 68 images I have used in System of Display, and largely accumulates meaning from its situation within the System. But certainly Godard’s formal strategies, and his ideas about the nature of montage, the production of images, and the practice of citation, have influenced the gestures I undertake here.”