"The Dziga-Vertov Group disbanded in 1973. (Gorin moved to California to teach, later turning out a number of bold, engaging films, notably 1979's "Poto and Cabengo"). Godard moved to video, both because it was a better medium for the essays and experimentation he had in mind and because TV had by this time become the best way to communicate with the largest number of people. In 1975, he left Paris for Grenoble, and collaboration with Anne-Marie Mieville, his third wife."

"The audio-visual experiments conducted by Miéville-Gordard in film, video and television in a succession of 'laboratories' from 1973 to 1979 constitute a self-contained and critically under-valued project. (...) Although their early ambition of producing as many as three low-cost films per year proved unrealistic, the Sonimage experiment was astonishingly productive. Over six years, they made almost nineteen hours of material for television broadcast or cinema release: three films (Ici et Ailleurs (1974); Numéro deux (1975); Comment ça va (1975)), and two monumental television series: Six fois deux (Sur et sous la communication) (1976, ten hours) and France/tour/détour/deux/enfants (1978, six hours). (Michael Witt)


Michael Witt: Going Through the Motions: Unconscious Optics and Corporal Resistnance in Miéville and Godard's France/tour/détour/deux/enfants", in: "Gender and French Cinema" (Alex Hughes, James S. Williams eds.) link)


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