Grandeur et décadence, Part II

Don't the above images (part of the same zoom sequence) give the unsettling impression of a video monitor image morphing into an evocation of a Byzantine Virgin icon? The stills above are taken from Grandeur et décadence. I would like to think of Godard walking through a museum, or perhaps sitting by his desk in lamplight with a book of the Old Masters, peering at image after image ("after" in time, "after" in space), realizing or deciding that they were a string of ands to braid with other strings in his own work. Is this zoom presenting us with a quick proposal--that television, in giving us so many images, so much information, and not allowing us to respond to it and communicate with it in its own form, operates like the Church in Medieval Europe? What is important is not whether Godard endorses this comparison or not, but that his film enables it, gets us to question the "omnipresent" or "omnipotent" ("la toute puissance") ...