ABSTRACT
The present article chooses Godard's “juste image” for a critical revisit to the thesis of Shoah's irrepresentability. In this way, the article recognizes a Godardian art of pain and the montage en catastrophe there involved to cast doubt on the mainly cinematographic arguments, which support the above-mentioned thesis. The objective is to underline this thesis’s yielding to the word, hence its focus on the so-called Testimonial literature, and its reduction to a superstitious iconoclasm, which is to be considered dated. Together with the elegant reference of Godard's critical work and Georges Didi-Huberman's work about the filmmaker, the argument has, as its theoretical background, the classic notes of the language impasse of the late arts.
KEYWORDS:
Irrepresentable; Shoah; Lanzmann; Image; Montage