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Author: Irmgard Emmelhainz Publisher: Springer ISBN: 3319720953 Category : Performing Arts Languages : en Pages : 327
Book Description
This book offers an examination of the political dimensions of a number of Jean-Luc Godard’s films from the 1960s to the present. The author seeks to dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard’s investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director’s oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard’s work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard’s ongoing inquiry on the role filmmakers can have in progressive political engagement.
Author: Irmgard Emmelhainz Publisher: Springer ISBN: 3319720953 Category : Performing Arts Languages : en Pages : 327
Book Description
This book offers an examination of the political dimensions of a number of Jean-Luc Godard’s films from the 1960s to the present. The author seeks to dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard’s investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director’s oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard’s work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard’s ongoing inquiry on the role filmmakers can have in progressive political engagement.
Author: Irmgard Emmelhainz Publisher: Palgrave Macmillan ISBN: 9783319720944 Category : Performing Arts Languages : en Pages : 0
Book Description
This book offers an examination of the political dimensions of a number of Jean-Luc Godard’s films from the 1960s to the present. The author seeks to dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard’s investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director’s oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard’s work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard’s ongoing inquiry on the role filmmakers can have in progressive political engagement.
Author: Colin MacCabe Publisher: ISBN: Category : Performing Arts Languages : en Pages : 182
Book Description
This book provides an account of Godard's politic activities of the 60's until 80's and analyses how his politics affect his cinema with the addition of Laura Mulvey's in depth account of the feminist aspect of Godard's cinema.
Author: Richard Brody Publisher: Macmillan ISBN: 9780805068863 Category : Biography & Autobiography Languages : en Pages : 732
Book Description
"When Jean-Luc Godard, exemplary director of the French New Wave, wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Among the greatest cinematic innovations, Godard's films shift fluidly from fiction to documentary, from criticism to art. Similarly, his persona projects shifting images - cultural hero, impassioned loner, shrewd businessman. Hailed by filmmakers as a - if not the - key influence, Godard has entered the modern canon, a figure as mysterious as he is indispensable." "In Everything is Cinema, critic Richard Brody has amassed hundreds of interviews with friends, family, and collaborators to demystify the elusive director and paint the fullest picture yet of his life and work. Paying as much attention to Godard's revolutionary technical inventions as to the political and emotional forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless and Contempt, to the grand vision of his later years. He vividly depicts Godard's wealthy, conservative family, his fluid and often disturbing politics, his tumultuous dealings with fellow filmmakers, and his troubled relations with women."--Jacket.
Author: Tom Conley Publisher: John Wiley & Sons ISBN: 1118587014 Category : Performing Arts Languages : en Pages : 597
Book Description
This compendium of original essays offers invaluable insights into the life and works of one of the most important and influential directors in the history of cinema, exploring his major films, philosophy, politics, and connections to other critics and directors. Presents a compendium of original essays offering invaluable insights into the life and works of one of the most important and influential filmmakers in the history of cinema Features contributions from an international cast of major film theorists and critics Provides readers with both an in-depth reading of Godard’s major films and a sense of his evolution from the New Wave to his later political periods Brings fresh insights into the great director’s biography, including reflections on his personal philosophy, politics, and connections to other critics and filmmakers Explores many of the 80 features Godard made in nearly 60 years, and includes coverage of his recent work in video
Author: Jeremy Robinson Publisher: Crescent Moon Pub ISBN: 9781861712271 Category : Performing Arts Languages : en Pages : 449
Book Description
JEAN-LUC GODARD There s no one else quite like Jean-Luc Godard. You could take a few frames from one of his films and know they were by the maestro and nobody else. Where the flood of movies globally now runs into many thousands, Godard s works stand out as original, acerbic, romantic, ironic, humorous and explorative. EXTRACT FROM CHAPTER 2: GODARD BIOGRAPHY With A Bout du Souffle, Godard produced one of the first, great French New Wave movies, starring Jean-Paul Belmondo and Jean Seberg, and written by, among others, Francois Truffaut. A Bout du Souffle, with its cool Parisian milieu, its filmic and film noir allusions, handheld camera, direct sound, startling editing and stylish, self-conscious performances from Belmondo and Seberg, established Godard as one of the major voices of postwar cinema, a reputation which Godard built on in subsequent early films such as Le Petit Soldat (1960), Une Femme Est Une Femme (1961), Vivre Sa Vie (1962), Le Mepris (1963), Bande a Part (1964), and Une Femme Mariee (1964). In these films of the early to mid-1960s, Godard established a radical, polemical series of films as film-essays which confronted issues such as late consumer capitalism, prostitution, labour, politics, ideology, gender, marriage, music, popular culture, Hollywood and not forgetting cinema itself. In the mid-1960s, Godard s films became increasingly political - the sci-fi film Alphaville (1965), Pierrot le Fou (1965), Made in U.S.A (1966), Masculine/ Feminin (1966), 2 ou 3 Choses Que Je Sais (1966) until, by 1967-68, the Marxist and Maoist influences permeated Godard s films: Weekend (1967), La Chinoise (1967), La Gai Savoir (1968), and One Plus One (Sympathy For the Devil, 1968). His concern was not to make political films, but to make films politically (my emphasis). In the 1970s, Godard moved into video and television territory, and worked with Anne-Marie Mieville on many projects: Ici Et Ailleurs (1974), Numero Deux (1975), Comment Ca Va (1976), Six Fois Deux/ Sur Et Sous La Communication (1976), and France/ Tour/ Detour/ Deux/ Enfants (1977-78). In the late 1970s, Godard made a return to feature filmmaking, with the sublime trilogy, Sauve Qui Peut (a.k.a. Every Man For Himself and Slow Motion, 1979), Passion (1982), and Prenom: Carmen (1983). Easily his most controversial film, Je Vous Salue Marie (Hail Mary), appeared in 1985; it was followed by Detective (1985), made to help finance the completion of Hail Mary, King Lear (1987), which starred Peter Sellars, Burgess Meredith, Molly Ringwald, Norman Mailer and Woody Allen, Nouvelle Vague (1990), Helas Pour Moi (1993), For Ever Mozart (1997), Eloge de l Amour (In Praise of Love, 2000) and Notre Musique (2005). Fully illustrated. Bibliography and notes. "
Author: David Sterritt Publisher: Cambridge University Press ISBN: 9780521589710 Category : Performing Arts Languages : en Pages : 320
Book Description
The Films of Jean-Luc Godard examines the work of one of the most versatile and influential filmmakers in the history of cinema. With a career ranging from France's New Wave movement in the early 1960s to a period of political experimentation in the late 1960s and 70s, and, currently, a contemplative period in which Godard has explored issues of spirituality, sexuality, and the aesthetics of sound, image, and montage, the filmmaker's work defies easy categorization. In this study, David Sterritt offers an introductory overview of Godard's work as a filmmaker, critic, and video artist. In subsequent chapters, he traces Godard's visionary ideas through six of his key films, including Breathless, My Life to Live, Weekend, Numéro deux, Hail Mary, and Nouvelle Vague formats. Linking Godard's works to key social and cultural developments, The Films of Jean-Luc Godard explains their importance in modernist and postmodernist art of the last half century.
Author: Wheeler Winston Dixon Publisher: State University of New York Press ISBN: 1438401248 Category : Social Science Languages : en Pages : 314
Book Description
One of the most important, controversial, and prolific filmmakers in film history, and a founder of French New Wave cinema, Jean-Luc Godard has maintained an unbroken string of films in various genres and mediums from the late 1950s onward. Godard has established a reputation as a rebel who can work within and outside the system, producing films that are creative, breathtakingly beautiful, and yet commercial enough to earn back their production costs. In this book, Wheeler Winston Dixon offers an overview of all of Godard's work as a filmmaker, including his work for television and his ethnographic work in Africa. Free from the jargon and value judgments that have marred much of what has been written about Godard, this is the only book that covers the entirety of Godard's career, from his early film criticism for Cahiers du Cinema to his most recent video/film work. Illustrated with forty-six rare stills and researched in detail, it is the Godard book for the 1990s.
Author: Paul Douglas Grant Publisher: Columbia University Press ISBN: 0231851014 Category : Performing Arts Languages : en Pages : 233
Book Description
This history covers the filmmaking tradition often referred to as cinéma militant, which emerged in France during the events of May 1968 and flourished for a decade. While some films produced were created by established filmmakers, including Chris Marker, Jean-Luc Godard, and William Klein, others were helmed by left-wing filmmakers working in the extreme margins of French cinema. This latter group gave voice to underrepresented populations, such as undocumented immigrants (sans papiers), entry-level factory workers (ouvriers spécialisés), highly intellectual Marxist-Leninist collectives, and militant special interest groups. While this book spans the broad history of this uncharted tradition, it particularly focuses on these lesser-known figures and works and the films of Cinélutte, Les groupes medvedkine, Atelier de recherche cinématographique, Cinéthique, and the influential Marxist filmmaker Jean-Pierre Thorn. Each represent a certain tendency of this movement in French film history, offering an invaluable account of a tradition that also sought to share untold histories.
Author: Daniel Morgan Publisher: Univ of California Press ISBN: 0520273338 Category : Performing Arts Languages : en Pages : 325
Book Description
“Late Godard and the Possibilities of Cinema is an exhilarating and extremely lucid analysis of the way Godard ‘thinks’ in, of, and through cinema. Drawing on his extensive knowledge of French culture, politics and theory, Morgan skillfully illustrates the complex relations between history, aesthetics, and nature in the director’s later works. Defying criticism of Godard’s alleged retreat from politics, this book provides compelling, detailed, and erudite analyses of his later films and illuminates the auteur’s political and aesthetic response to the so-called ‘death of cinema.’”— Mary Ann Doane, author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive. “Daniel Morgan charts a sensible route into the impenetrable Jean-Luc Godard. Posing clear yet insistent questions, he burrows to the center of both parts of this book’s formidable title, finding in late Godard an aesthetic fusion that generates the light and heat of a trenchant and powerful political critique. Anyone who feels drawn or licensed to write about Godard should read Morgan before setting out.”—Dudley Andrew, author of What Cinema Is! “Daniel Morgan's Late Godard and the Possibilities of Cinema signals a major breakthrough in the international study of the cinema of Jean-Luc Godard. Reconciling the filmmaker's peculiarly Romantic sense of aesthetics —to which the book pays scrupulous, material attention—with the thorny political histories that Godard's cinema has always probed, Morgan gives us new, compelling, synthetic tools with which to understand an artist who is at once the most cryptic and the most sensuous of all living filmmakers.”—Adrian Martin, Monash University, co-editor of lolajournal.com