This paper offers an exploration of Julian Rosefeld’s film Manifesto (2015), which
is a fascinating amalgamation and interpretation of modernist, avant gardist
manifestos. The paper employs the film itself as a hermeneutical framework,
especially is use of the rhetorical-hermeneutical device of repetition, and also
makes use of René Girard’s mimetic theory. Through this double-hermeneutic,
two aims are set out: the first being to offer a way to rethink the meaning of the
art manifesto as that modernist genre par excellence and the second being a
way to rethink trends in artistic and creative production in general.