From Timothy Murray "The Crisis of Cinema in the Age of New World Memory" (on Godard's King Lear)

"What Deleuze calls 'free indirect vision' is the excessive seriality of Godardian cinema which flows in continuous variation from one sequence to another. Through this offshoot of 'free indirect discourse', Deleuze writes,

either the author [think here of Shakespeare as well as Godard] expresses himself through the intercession of an autonomous, independent character other than the author or any role fixed by the author, or the character acts and speaks himself as if his own gestures and his own words were already reported by a third party.
(Cinema 2, Time Image)

If this seems all to abstract, just think back to the intercession of Professor Pluggy on the one hand, or how Shakespeare Junior speaks words already reported by a third party on the other. The practical result is the effacement of a controlling interior monologue, the inversion of a totalisation of images or whole in favour of an outside inserted between them, and the erasure of the unity of man and the world in favour of a break, leaving Godard's viewers with, at best, only a frail belief in the promise of the post-nuclear world. These results could be summarized in the series of interetitles repeated at intervals throughout Godard's film in a way that disrupts the narrative flow of King Lear; A Picture Shot in the back, A study, An Approach, A clearing, A Thinking, Fear and Loathing, Three Journeys into King Lear.

Such a repetition of intertitles in continuous variation constitutes the seriality of King Lear through which two images or the fold of sound and vision are said by Deleuze to engender or trace a frontier belonging neither to one nor the other." (177)