JLG: It's what we called, in The Old Place, simple juxtapositions that make it possible to tell a story.  If you just go forward with one text you miss it, however talented you are, while if you put two texts or two photos together...

YI: [...] There are also the underlying mental conditions or conditions of sensibility, where hidden relations are present; so it reaches all the origins of cinema, all the births of cinema, origin here meaning primal furnace as the origin of something and also what is fundamental to something.  For example, when you link the American shot to man, revolver and male genitals, the chest shot to woman and the nurses who figure in all the love stories, or (citing Pagnol) the closeup to the royal portrait on coins and that in turn to a Velasquez painting and an image of Bessie Love, you are able to connect the three constituent elements of the star image: closeup, money and charisma...

“Or we don’t have a homeland worth going back to.”

Lillian Gish in Sjöström’s The Wind (1928)

(as seen in The Old Place, 1999, by Godard & Miéville)

("Our species, as a whole, cannot bear the past.  Many of us hate the present, and we only have one direction: the future, which takes us further away from the concept of a homeland of our own.")