Deleuze, Rancière, and Montage The Godard Case

Using as a point of departure Gilles Deleuze’s reflections on montage which he developed in The Movement-Image (1983), and The Time-Image (1985), and more specifically from the analysis that he proposes of Jean-Luc Godard’s film Here and Elsewhere (1976), we will consider a series of concepts taken in part from Emmanuel Kant, Henri Bergson and Michel Foucault: the Whole, the Interval and the Open, the Interstice and the Outside. We will compare his thoughts on montage with those of Jacques Rancière, notably his analysis in Histoire(s) du Cinéma (1988–1998), basing ourselves on the notion of the incommensurable.