In the final scene of Visages Villages/Faces Places (2017), then-octogenarian filmmaker Agnès Varda and artist JR make the long train journey from Varda’s Paris home to visit Jean-Luc Godard in Rolle, on the north-west shores of Lake Geneva in Switzerland. Godard is not at home when they arrive; instead a cryptic message is taped to his door, addressed to Varda, one of his oldest friends. Upon reading it she bursts into tears, calling Godard a filthy rat. The extent of Godard’s belligerence is now recorded for posterity in the cinematic legacy of one of his closest peers, who died in 2019. Godard’s abstruse, absented presence in the film is a typical gesture, and his attraction as provocateur for auteur-led cinephilic film audiences is an enduring vestige of European film cultures.1¹ Significantly overshadowing the work of peers like Varda, who gained significant international acclaim only in the last decade of her life, Godard continues to be described as a major figure in the western film studies canon. Whether invested in as a biographical entity,2² ‘audio-visual thinker’ or ‘film essayist’,3³ or foremost (anti)canonical figure in film studies,4⁴ Godard’s cultural capital and polemical style are long-held perspectives in film scholarship.

中文翻译：

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策划戈达尔式机构：电影和当代艺术中的代理和批评

在《 Visages Villages / Faces Places 》 （2017 年）的最后一幕中，时年八十多岁的电影制片人阿涅斯·瓦尔达（Agnès Varda）和艺术家 JR 乘坐长途火车从瓦尔达在巴黎的家中前往日内瓦湖西北岸罗勒的让·卢克·戈达尔（Jean-Luc Godard）在瑞士。他们到达时戈达尔不在家；取而代之的是，一条神秘的信息被贴在他的门上，写给他最老的朋友之一瓦尔达。读完后，她泪流满面，称戈达尔是一只肮脏的老鼠。戈达尔好战的程度现在记录在他最亲密的同龄人之一的电影遗产中，他于 2019 年去世。戈达尔在电影中深奥、缺席是一种典型的姿态，他作为挑衅者的吸引力对于以导演为主导的迷影电影观众来说，这是欧洲电影文化的持久遗迹。^{1 1}显着地掩盖了瓦尔达等同行的作品，后者仅在她生命的最后十年才获得了重大的国际赞誉，戈达尔继续被描述为一个重要人物在西方电影研究经典中。无论是作为传记实体投资，2 ² “视听思想家”还是“电影散文家”，3 ³还是电影研究中最重要的（反）规范人物，4 ⁴戈达尔的文化资本和辩论风格是电影中长期持有的观点奖学金。