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En los anos sesenta, el cine militante busco compartir y expandir estrategias y herramientas para la lucha politica alrededor del mundo. Ici et ailleurs (1969- 1974), la pelicula que Godard filmo con Jean-Pierre Gorin bajo el marco del Grupo Dziga Vertov y edito con Anne-Marie Mieville, no es solo un ejemplo de cine politico de vanguardia, sino un recuento auto-reflexivo del resultado de las revoluciones aqui y en otro lado, del devenir de la militancia y el cine comprometido y de su repudio a mediados de los anos setenta. En este ensayo, me enfoco en tres elementos que forman parte del legado del cine militante en general, y especificamente de Ici et ailleurs: primero, las lecciones que se pueden derivar de las ordalias derivadas de simpatizar, hablar o imaginar procesos politicos de otros, en otros lados. Segundo, el problema que Godard plantea en peliculas posteriores a Ici et ailleurs , a lo que llamo la «mediatizacion de la mediacion», como la forma de activismo que siguio al rechazo del marxismo-leninismo como depositario de la politica progresiva. Tercero, la no poco problematica transformacion de la politica de la imagen de Godard en la «politica sensible» post-politica, un nicho en la produccion cultural que se ha dado la tarea de codificar actos politicos inestables en formas mediaticas, transformando la accion y enunciacion politica en cuestion de expresion. Palabras clave: cine militante, Jean-Luc Godard, Palestina, activismo, politica sensible, post-politica, compromiso politico. Abstract: In the 1960s, militant cinema aimed to share and expand strategies and tools for the political struggle around the world. Ici et ailleurs (1969-1974), the film that Godard shot with Jean-Pierre Gorin within the Dziga Vertov’s Group and edited with Anne-Marie Mieville, it is not only an example of avant-garde political cinema, but also an auto-reflexive account of the outcome of revolutions here and elsewhere, of the development of militancy and committed cinema and of its rejection in the mid of the 1970s. In this essay, I will focus on three elements that form part of the legacy of militant cinema in general and specifically of Ici et ailleurs . Firstly, the lessons that can be derived from the ordeals that come out from sympathizing, talking, and imagining political processes of others, in other places. Secondly, the problem that Godard suggested in films that came after Ici et ailleurs , which I call ‘mediatization of mediation’, such as the form of activism that followed the rejection of Marxism-Leninism as the repository of the progressive politics. Thirdly, the not less problematic transformation of Godard’s politics of the image to the post-politics’ ‘sensitive politics’, a niche in the cultural production that embarked on the role of encoding unstable political acts in media forms, transforming in terms of expression the political action and enunciation. Keywords: Militant cinema, Jean-Luc Godard, Palestine, activism, sensitive politics, post-politics, political commitment.

Cine militante:Del internacionalismo a la política sensible neoliberal / Militant Cinema: From Internationalism to Neoliberal Sensible Politics