According to Bonfand, it is this principle of imprint which drives a large part of Godard’s system of representation, particularly in the intuitive and memory-based principle which leads the heterogeneity of his juxtapositions and collages of images starting from Pierrot le fou (1965). He demonstrates that Godard considers the canvas of the cinematic screen as ‘a sensible surface, a supporting beam in which something imprints itself [ ]’ (222). This inclination opens on a theory of cinema which goes back to the arche of representation, to the acheiropoietos image which perfectly fits the cinematic apparatus itself. .
