Abstract
Jean-Luc Godard's 1968 film One Plus One is of musicological significance because, unlike most music scholars, Godard directly confronts racial issues in 1960s rock. By juxtaposing studio footage of the Rolling Stones with staged tableaux of black militants, Godard both highlights white appropriation of black music and suggests that any cultural expression that seems transparently authentic is actually constructed rhetorically. One Plus One undermines the romantic notion of the “rock revolution” that continues to inform popular accounts of 1960s rock, suggesting instead that rock was part of a complex and often contradictory political culture.
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