Film as a Process of 'Image- building': Actors as a Signifier/ Agent

"Godard... is more concerned with 'image- building' as a kind of pictography, in which images are liberated from their role as elements of representation and given a semantic function within a genuine iconic, something like the baroque code of emblems... the construction of an adequate code can only take place if it is glossed and commented upon in the process of construction." 

I find this quality of film as a process of 'image - building' very intriguing. In order to read the film as a constructed image than a set of representational moments, I viewed the scenes not as object- oriented/ figurative but rather as purely passing imageries; I considered certain principles that fulfill the quality of an image such as colors, composition, positive/ negative space. Through this way of viewing, I noticed a number of examples of such throughout the film, most notably the constantly changing appearance of the actors. Actors being considered as a main agent that carries along the scenes (regardless of the non-narrative, destructive nature of the Counter- Cinema), the changes of their presentations are very curious. 

Imagine a scene from the film in your mind (such as the one above), and reduce the complexity and details of the image to an amalgam of colors. The two protagonists (Corrine and her husband Roland), in their various journeys different moments within each event, constantly change from one outfit to another, one color to another. Consider the following: Corrine's discovery of "trousers," the couple's savage- like hunt and search for clothes from the dead in the accident and their non - hesitant change into these new presentations. We see these protagonists, who are main carriers of the film, as constantly changing in their form, their frame. (For example, remember the yellow scarf: Corrine holds on to it at all time - whether wearing around her neck while seated in the car, carrying it around the field, the fire, damage, in the midst of chaos, and later on it is spotted on Roland as wearing it at the parents' house.)

Relate this idea to that of Saussure in regarding the signification as the union of the signifier and the signified... The actors, the main agents, are signifiers within the image, a color x within the coded set of colors. Then how do we as audience understand the constant change in a signifier, constant change of colors within a certain system of codes? Where is the signified, where is the essence? What does Godard intend to say?  The signifiers that do not hesitate a moment to change, thus affecting the signified/ signification... or is there any?  The abundant, dominant use of primary colors in the actors - and the changes within this pool of colors of the scenes...  

Furthermore, how do we understand the image of Corrine in bath against the background of a painting? The film is heavily inundated with sexual references and yet in fact there is not much of the actual presentation (in fact the actors are always so exhaustingly, heavily dressed), except for this particular scene where Corrine reveals a relatively considerable amount of her body.  Besides the idea of "high art - low art," "object/ subject of desire," how do we view this scene in terms of an image, a set of iconic codes that are colors? 

There are a lot of other facets of the film that evokes much curiosity and that I would like to touch upon... The scene with a flock of sheeps, role reversals between actors, the role of gaze, the notion of "collectivity," ... so much to discover and see - dans ce film!