ABSTRACT. The purpose of this paper is to gain a deeper understanding of the nexus between the poetics of Godard’s use of time, Godard’s cinematic language of accumulation, the European art cinema of Godard, and the diversity of Godard’s films. The paper generates insights about Godard’s fascination with the interactivity between individual and environment, cinema as a largely psychological phenomenon, and Godard’s relationship with filmmaking originality. pp. 260–265

Keywords: Godard’s cinematic language, filmmaking originality, filmic philosophy