Abstract Although the intermediality of Jean-Luc Godard’s films of the 1980s has been extensively analysed, especially the tableaux vivants in Passion (1982), little has been said on the intermedial dimension of gesture in the director’s work of this period. The article investigates how the gestural flows in Godard’s First Name: Carmen (Prénom Carmen, 1983) interrelate heterogeneous forms, meanings, arts, and media. The interconnection between the gestures of the musicians who are rehearsing Beethoven’s late string quartets and the lovers’ gestures, inspired by Rodin’s sculptures, gives cohesion to the hybrid aesthetics of the film. Gesture is the element which incorporates, develops, and sets in motion the features of the other arts, not only by creating an in-between space that forges links between media, but especially by exhibiting the process of making itself. Indeed, the relationship between the performing, musical, and visual arts is made visible in the exhibition of the corporeal effort of making (whether it be making music, film, or love) that tends to open the boundaries separating the different arts. The aural and visual qualities of gestures communicate between themselves, generating rhythms and forms that circulate in the continuous flow of moving images. By fostering the analogy between the gesture of carving, of performing music, and of making film, Godard highlights what unites the arts in cinema, while feeding on their differences.

中文翻译：

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让-卢克·戈达尔（Jean-Luc Godard）的名字中的手势中间性：卡门（Carmen）（1983）

摘要尽管对吉恩·卢克·戈达尔（Jean-Luc Godard）1980年代电影的中间性进行了广泛的分析，尤其是《激情（Passion）》（1982）中的场面活泼的人，但对于这一时期导演工作中手势的中间维度却鲜有提及。本文研究了戈达德的名字：卡门（Carmen，PrénomCarmen，1983年）中的手势流如何将异质形式，含义，艺术和媒体联系在一起。排练贝多芬后期弦乐四重奏的音乐家的手势与受罗丹雕塑启发的恋人的手势之间的相互联系，使电影的混合美学得以凝聚。手势是一种结合，发展和激发其他艺术特征的元素，不仅是通过创造一个介于中间的空间来加强媒体之间的联系，但尤其要展示其制作过程。的确，表演，音乐和视觉艺术之间的关系在制作（无论是制作音乐，电影还是爱情）的物质努力的展览中变得可见，这种努力倾向于打开区分不同艺术的界限。手势的听觉和视觉品质在彼此之间进行交流，从而产生节奏和形式，这些形式和形式在连续的动态图像流中循环传播。通过在雕刻，表演音乐和制作电影的手势之间进行类比，戈达尔强调了将电影中的艺术团结起来，同时又汲取了它们之间的差异。或爱），这往往会打开区分不同艺术的界限。手势的听觉和视觉品质在彼此之间进行交流，从而产生节奏和形式，这些形式和形式在连续的动态图像流中循环传播。通过在雕刻，表演音乐和制作电影的手势之间进行类比，戈达尔强调了将电影中的艺术团结起来，同时又汲取了它们之间的差异。或爱），这往往会打开区分不同艺术的界限。手势的听觉和视觉品质在彼此之间进行交流，从而产生节奏和形式，这些形式和形式在连续的动态图像流中循环传播。通过在雕刻，表演音乐和制作电影的手势之间进行类比，戈达尔强调了将电影中的艺术团结起来，同时又汲取了它们之间的差异。