Abstract
In Jean-Luc Godards cinema, which has been presented as the cinema of the present, as contemporary, par excellence, marking the signs and modes of current events, a fault line has opened onto the past. Godards cinema and creative psyche have fallen into it as of the 1980s and the artist has never stopped thinking "the death of cinema". Thus, the past never stops rising up and then rising up again in Godardian films, traces of his own history in the century, from the child and young man that he was, but equally a very ambitious cinematographic project. This place is held by the Histoire(s) du cinema that have transformed Godard into a historian, which is certainly strange, and have him working on the very stuff of represented memory, that of war and extermination, of totalitarianisms and corruption of capitalism, of recent wars and the selling out of cinema.