After he revolutionized cinema alongside his colleagues from the Nouvelle Vague movement in the 1960s and dedicated himself to revolutionary cinema in the early 1970s, Jean-Luc Godard turned to experiments in video for television and cinema. In my visual essay Il n'y plus d'images simples (“There are no simple images anymore”) I investigate how this choice of medium finds expression in Godard's aesthetic handwriting. Analyzing Numéro Deux (1974), Içi et Ailleurs (1976), Lettre á Freddy Buache (1982), Histoire(s) du Cinéma (1989-1998) and De l'origine du XXIième siècle (2000), I identified several aspects of his work which have been especially affected by the potentialities of the electronic medium. In an about ten minute long short film, consisting entirely of footage taken from the aforementioned films, I organized moments of outstanding use of video technology according to their shared stylistic characteristics and comment through a voice over on their significance within the larger context of Godard's work in analog film. In my research, selection and interpretation of the footage I let myself guide by ideas of Phillippe Dubois' essay Video Thinks What Cinema Creates: Notes on Godard's Work for Video and Television, Douglas Morrey in Jean-Luc Godard and Kaja Silverman and Harun Farocki in Speaking about Godard.