→ Continued from “Between Objective Engagement and Engaged Cinema: Jean-Luc Godard’s ‘Militant Filmmaking’ (1967-1974), Part I” in issue 34. If the films Godard made with the Dziga Vertov Group (DVG) show the historical, political, and sociological actuality, in Here and Elsewhere Godard and Miéville carve out a discursive position from which to retrospectively analyze May ’68 in France. They do this in 1974, concurrent with the Palestinian revolution. 1 DVG filmed some of the...

It is often argued that between 1967 and 1974 Godard operated under a misguided assessment of the effervescence of the social and political situation and produced the equivalent of “terrorism” in filmmaking. He did this, as the argument goes, by both subverting the formal operations of narrative film and by being biased toward an ideological political engagement. 1 Here, I explore the idea that Godard’s films of this period are more than partisan political statements or anti-narrative...