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JEAN-LUC GODARD: SON+IMAGE Fact Sheet
The Museum of Modern Art For Immediate Release August 1992 FACT SHEET EXHIBITION JEAN-LUC GODARD: SON+IMAGE DATES October 30 - November 30, 1992 ORGANIZATION Laurence Kardish, curator, Department of Film, with the collaboration of Mary Lea Bandy, director, Department of Film, and Barbara London, assistant curator, video, Department of Film, The Museum of Modern Art; and Colin Myles MacCabe, professor of English, University of Pittsburgh, and head of research and information, British Film Institute. CONTENT Jean-Luc Godard, one of modern cinema's most influential artists, is equally important in the development of video. JEAN-LUC GODARD: SON+IMAGE traces the relationship between Godard's films and videos since 1974, from the films Ici et ailleurs (1974) and Numero Deux (1975) to episodes from his video series Histoire(s) du Cinema (1989) and the film Nouvelle Vague (1990). Godard's work is as visually and verbally dense with meaning during this period as it was in his revolutionary films of the 1960s. Using deconstruction and reassemblage in works such as Puissance de la Parole (video, 1988) and Allemagne annee 90 neuf zero (film, 1991), Godard invests the sound/moving image with a fresh aesthetic that is at once mysterious and resonant. Film highlights of the series include Sauve qui peut (la vie) (1979), First Name: Carmen (1983), Hail Mary (1985), Soigne ta droite (1987), and King Lear (1987), among others. Also in the exhibition are Scenario du film Passion (1982), the video essay about the making of the film Passion (1982), which is also included, and the videos he created in collaboration with Anne-Marie Mieville, Soft and Hard (1986) and the series made for television, Six fois deux/Sur et sous la communication (1976). -
Performance in and of the Essay Film: Jean-Luc Godard Plays Jean-Luc Godard in Notre Musique (2004) Laura Rascaroli University College Cork
SFC_9.1_05_art_Rascaroli.qxd 3/6/09 8:49 AM Page 49 Studies in French Cinema Volume 9 Number 1 © 2009 Intellect Ltd Article. English language. doi: 10.1386/sfc.9.1.49/1 Performance in and of the Essay film: Jean-Luc Godard plays Jean-Luc Godard in Notre musique (2004) Laura Rascaroli University College Cork Abstract Keywords The ‘essay film’ is an experimental, hybrid, self-reflexive form, which crosses Essay film generic boundaries and systematically employs the enunciator’s direct address to Jean-Luc Godard the audience. Open and unstable by nature, it articulates its rhetorical concerns in performance a performative manner, by integrating into the text the process of its own coming communicative into being, and by allowing answers to emerge in the position of the embodied negotiation spectator. My argument is that performance holds a privileged role in Jean-Luc authorial self- Godard’s essayistic cinema, and that it is, along with montage, the most evident representation site of the negotiation between film-maker and film, audience and film, film and Notre musique meaning. A fascinating case study is provided by Notre musique/Our Music (2004), in which Godard plays himself. Communicative negotiation is, I argue, both Notre musique’s subject matter and its textual strategy. It is through the variation in registers of acting performances that the film’s ethos of unreserved openness and instability is fully realised, and comes to fruition for its embodied spectator. In a rare scholarly contribution on acting performances in documentary cinema, Thomas Waugh reminds us that the classical documentary tradition took the notion of performance for granted; indeed, ‘semi-fictive characteri- zation, or “personalization,”… seemed to be the means for the documentary to attain maturity and mass audiences’ (Waugh 1990: 67). -
Director's Portrait Anne-Marie Miéville
Born 1945 in Lausanne. Collaboration writer, editor, artistic director and co- with Jean-Luc Godard in various director, 1972 to 1994. SHORT FILMS capacities: as a photographer, script- 1983 How can I love 1984 Le Livre de Marie (Marie’s Book) 1987 Faire la fête (Living It Up) ANNE-MARIE FEATURE FILMS MIÉVILLE 1988 Mon cher sujet (My Favourite Story) 1993 Lou n’a pas dit non (Lou Didn’t Say No) 1996 Nous sommes tous encore ici Cinema between narration and abstraction (We’re All Still Here) here can be no doubt that contemporary cinema is still in 2000 Après la réconciliation (Reaching an Understanding) T search of a new relation between narration and abstrac- tion. Its characters are no longer simple vehicles of a narrative COLLABORATION WITH JEAN- LUC GODARD or a message (the author’s). Since Antonioni and Bergman they 1973 Ici et Ailleurs (Here and Else- have become endowed with an autonomous figural status. The where) actors’ bodies have got into the habit of eluding meaning: the 1975 Numéro deux (Number Two) strangeness is pervasive, sometimes between the subjects of a 1975 Comment ça va (How’s It Going) film, with their social acuteness or violence of feeling, and the 1976 Six fois deux (Six Times Two) coldness, or what seems to be the coldness, of the actors’ bodies. It is in this sense that we must 1978 France tour détour deux speak of a conflict between narration and abstraction, as in earlier days one spoke of a conflict enfants (France – Tour – Detour – Two Children) between colour and line. -
Love, Death and the Search for Community in William Gaddis And
Histoire(s) of Art and the Commodity: Love, Death, and the Search for Community in William Gaddis and Jean-Luc Godard Damien Marwood Submitted for the Degree of Doctor of Philosophy Discipline of English and Creative Writing The University of Adelaide December 2013 Table of Contents Abstract ................................................................................................................................................... iii Declaration............................................................................................................................................... iv Acknowledgements ................................................................................................................................... v Introduction ............................................................................................................................................... 3 Methodology ......................................................................................................................................... 7 Topography ........................................................................................................................................ 11 Godard, Gaddis .................................................................................................................................. 17 Commodity, Catastrophe: the Artist Confined to Earth ........................................................................... 21 Satanic and Childish Commerce / Art and Culture ............................................................................ -
GODARD and the CINEMATIC ESSAY by Charles Richard Warner
RESEARCH IN THE FORM OF A SPECTACLE: GODARD AND THE CINEMATIC ESSAY by Charles Richard Warner, Jr. B.A., Georgetown College, 2000 M.A., Emory University, 2004 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Charles Richard Warner, Jr. It was defended on September 28, 2010 and approved by Lucy Fischer, Distinguished Professor, Department of English Randalle Halle, Klaus Jones Professor, Department of German Marcia Landy, Distinguished Professor, Department of English Colin MacCabe, Distinguished University Professor, Department of English Daniel Morgan, Assistant Professor, Department of English Dissertation Advisor: Adam Lowenstein, Associate Professor, Department of English ii Copyright © by Rick Warner 2011 iii RESEARCH IN THE FORM OF A SPECTACLE: GODARD AND THE CINEMATIC ESSAY Charles Richard Warner, Jr., PhD University of Pittsburgh, 2011 This dissertation is a study of the aesthetic, political, and ethical dimensions of the essay form as it passes into cinema – particularly the modern cinema in the aftermath of the Second World War – from literary and philosophic sources. Taking Jean-Luc Godard as my main case, but encompassing other important figures as well (including Agnès Varda, Chris Marker, and Guy Debord), I show how the cinematic essay is uniquely equipped to conduct an open-ended investigation into the powers and limits of film and other audio- visual manners of expression. I provide an analysis of the cinematic essay that illuminates its working principles in two crucial respects. -
Film Socialisme
Film Socialisme a film by Jean‐Luc Godard Un Certain Regard ‐ Cannes Film Festival 2010 Switzerland/ France / 2010 / 102 mins / 1:78 / Dolby SRD / Certificate: tbc Release date: July 8th 2011 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] 10 Margaret Street London W1W 8RL Tel: 020 3178 7095 www.newwavefilms.co.uk Ideas separate us, dreams bring us together SYNOPSIS A symphony in three movements THINGS SUCH AS: A Mediterranean cruise. Numerous conversations, in numerous languages, between the passengers, almost all of whom are on holiday... OUR EUROPE At night, a sister and her younger brother have summoned their parents to appear before the court of their childhood. The children demand serious explanations of the themes of Liberty, Equality and Fraternity. OUR HUMANITIES. Visits to six sites of true or false myths: Egypt, Palestine, Odessa, Greece, Naples and Barcelona. CREW A film by Jean‐Luc Godard Jean‐Paul Battagia, Fabrice Aragno, Paul Grivas, François Musy, Renaud Musy, Gabriel Hafner, Louma Sanbar, Yousri Nasrallah, Anne‐Marie Miéville Texts Walter Benjamin, Jacques Derrida, Jean‐ Paul Curnier, Roland Dubillard Hannah Arendt, Otto von Bismarck, Jean‐ Paul Sartre, Luc Brunschwig, Jean Giraudoux, Jean Tardieu, Charles Peguy, Louis Aragon, Stéphane Rullac, Henri Bergson, Georges Bernanos, Denis de Rougemont, Christa Wolf, Nikolai Rimsky‐ Korsakov, Fernand -
The Neuron Stimulating Zine [Τεύχος 033] - [080516] [Διανέμεται Χωρίς Αντίτιμο]
the neuron stimulating zine [τεύχος 033] - [080516] [διανέμεται χωρίς αντίτιμο] i am the cover... .03 το ημερολόγιο ενός τρελού [comzeradd] .04 αναγεννησιακά ηφαίστεια [μαρία χαλλούμι] .05 υπέρ εγώ [υρώ Χ.] .06 φανέρωσέ μου τη μάσκα που κρύβεις… [χαρά βογαζιανού] .08 post-renaissance [μ] .10 αναγέννηση [σελήνη] .11 άτιτλο [ενδορφίνη] .12 το στέλεχος [μίνως-αθανάσιος καρυωτάκης] βρες την σωστή σελίδα . .14 ημερολόγιο καταστρώματος [ματίνα αναγνωστοπούλου] .16 η γυναίκα με τα μαύρα [όμικρον μι] .18 δεινόσαυρος [νόπη φουντουκίδου] .20 εγώ και εσύ [μαρίνα αποστόλου] .21 europa universalis [γιώργος τζαβλάκης] .22 για τις ιστορίες, το προσωπικό κάλεσμα… [caravan project] .25 jean-luc godar(t)d_ ο Θεός της έβδομης τέχνης [baphomet] .29 στίβεν κίνγκ – mr mercedes [seitanakos (ακα πτωχός γιώργος)] .32 γιατί μοιράζω δωρεάν τα βιβλία μου [cory doctorow] [issue 033] - [080516] [chimeres.gr] .35 μαριονέτες [ιωάννης γκουγκουγιάννης] .37 αμεσοκρατία [hakim bey] .38 γνωσιακές-συμπεριφοριστικές μέθοδοι τραιναρίσματος [aaron beck] .42 εκείνοι η ίδια [αργύρης ευαγγελούδης] .44 26.01.16 [λευτέρης ο 40-ος] .45 άτιτλο [violon rouge] .46 περιδιαβαίνοντας [ντομινίκ αρβανίτης] .47 συγκοινωνούντα δοχεία [στράτος Κ.] .48 μαύρο μανταρίνι [γιάννης φαρσάρης] .49 τίποτα ιδιαίτερο [βασιλική δραγούνη] .50 enditorial [travis bickle] i am page 02 the neuron stimulating zine το ημερολόγιο ενός τρελού [comzeradd] Η πιο δύσκολη απόφαση είναι να αφήσεις ανθρώπους πίσω σου. Όχι από συνήθεια, ούτε από θυμό. Ούτε επειδή απομακρύνθηκαν. Αλλά γιατί εξαντλήθηκες. Μπορείς να συνεχίσεις να χτυπάς πάνω σ’ ένα τοίχο, όσο αρνείσαι να παραδεχτείς το αδιέξοδο. Πρόσκαιρα σου φαίνεται πως αυτό είναι το “σωστό” πράγμα να κάνεις. Η πιο δύσκολη παραδοχή είναι όταν κατανοείς πως είσαι σ’ ένα τέλμα. -
Jean-Luc Godard's Political Filmmaking
Irmgard Emmelhainz Jean-Luc Godard’s Political Filmmaking Irmgard Emmelhainz ISBN 978-3-319-72094-4 ISBN 978-3-319-72095-1 (eBook) https://doi.org/10.1007/978-3-319-72095-1 Library of Congress Control Number: 2018939752 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, speci"cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on micro"lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a speci"c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institu- tional af"liations. Cover design by Jenny Vong Printed on acid-free paper This Palgrave Macmillan imprint is published by the registered company Springer International Publishing AG part of Springer Nature. -
MARGUERITE DURAS JEAN-LUC GODARD DIJALOZI Biblioteka Sinestetika Naslov Izvornika: Marguerite Duras, Jean-Luc Godard: Dialogues
MARGUERITE DURAS JEAN-LUC GODARD DIJALOZI Biblioteka Sinestetika naslov izvornika: Marguerite Duras, Jean-Luc Godard: Dialogues. Introduction, notes et postface de Cyril Béghin © Post-éditions, 2014. autori: Marguerite Duras, Jean-Luc Godard naslov: Dijalozi izdavači: Udruga Bijeli val Ilica 203a, 10000 Zagreb, HR tel/fax: +385 1/ 3907292 e- mail: [email protected] http:// www.subversivefilmfestival.com Multimedijalni institut Preradovićeva 18, 10000 Zagreb, HR telefon: +385 [0]1 48 56 400 fax: +385 [0]1 48 55 729 e-mail: [email protected] url: http://www.mi2.hr za izdavače: Nikola Devčić i Petar Milat urednica: Dina Pokrajac prijevod s francuskog: Zlatko Wurzberg lektura: Dina Pokrajac dizajn: Dejan Dragosavac Ruta tisak: Tiskara Zelina isbn: 978-953-8257-02-5 (Udruga Bijeli val) isbn: 978-953-7372-41-5 (Multimedijalni institut) CIP zapis dostupan je u računalnom katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001028330 objavljeno uz potporu: Ministarstvo kulture Republike Hrvatske, Grad Zagreb, Hrvatski audiovizualni centar Zagreb, travanj 2019. DURAS / GODARD DIJALOZI Uvod, bilješke i pogovor: Cyril Béghin S francuskog preveo Zlatko Wurzberg Udruga Bijeli val Multimedijalni institut Zagreb, travanj 2019. Sadržaj 7 uvod 11 Dijalog iz 1979. 41 Dijalog iz 1980. 64 Dijalog iz 1987. 113 Soft and Hard pogovor napisao Cyril Béghin 128 dodatak Pismo Jean-Luca Godarda Marguerite Duras Uvod Tri dijaloga između Marguerite Duras i Jean-Luca Godarda sabrana u ovoj knjizi predstavljaju razgovor započet u listo- padu 1979. (prvi dijalog, povodom snimanja Godardova filma Spašavaj tko može (život)), nastavljen u rujnu ili listopadu 1980. (drugi dijalog, u vezi filmskog projekta o incestu) i koji se završava u prosincu 1987. -
Jean-Luc Godard and the Other History of Cinema
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/1303 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Jean-Luc Godard and the Other History of Cinema by Douglas Morrey A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in French Studies University of Warwick, Department of French Studies August 2002 Contents Introduction 1 Chapter 1: Splendeurs et miseres 1.1: Toutes les histoires — Mon beau souci: Cinema and seduction — Histoire de la nuit — Usine(s) de reves 16 1.2: La fin du four: Cinema and war — La grande illusion: Representation and reality — To be or not to be: Image and absence — Amere victoire 37 Chapter 2: Matiere et memoire 2.1: A la recherche du siècle perdu: Godard's century of cinema— En train de se faire: Cinema and modernity —Illusions perdues: The Fall of cinema 61 2.2: Scientia sexual is: Pornography and technology — Machines of war, war of machines — La croisee des destins — Brief encounters: History as constellation — Terminus 80 Chapter 3: Les Mains sales 3.1: Plus ca change: Godard and the Balkans — Universal pictures: From the Hollywood brand to CNN — Le mode du systeme: Television and terror — Godard bataille -
Jean-Luc Godard Jean-Philippe Gravel
Document généré le 30 sept. 2021 02:23 Ciné-Bulles 1 x 50 ans de cinéma Jean-Luc Godard Jean-Philippe Gravel Volume 30, numéro 1, hiver 2012 URI : https://id.erudit.org/iderudit/65548ac Aller au sommaire du numéro Éditeur(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (imprimé) 1923-3221 (numérique) Découvrir la revue Citer cet article Gravel, J.-P. (2012). 1 x 50 ans de cinéma : Jean-Luc Godard. Ciné-Bulles, 30(1), 48–53. Tous droits réservés © Association des cinémas parallèles du Québec, 2011 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Jean-Luc Godard PERSPECTIVE : Philippe R. Doumic : Philippe Photo Collection Cinémathèque québécoise 1 x 50 ans de cinéma JEAN-PHILIPPE GRAVEL 48 Volume 30 numéro 1 Contre un Truffaut ravi par la mort à l’âge de 52 ans, on se de- tentateurs de la glose, il fallait envisager son travail sous un an- mande si Jean-Luc Godard (qui a eu 81 ans ce 3 décembre) res- gle pragmatique, comme une pédagogie filmée. Godard n’a pas sent sa longévité comme une punition. -
Adieu Godard? Selected Filmography the Higher Learning Staff Curate
Adieu Godard? Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films Mentioned or Discussed During the Event Weekend (Week End). Dir. Jean-Luc Godard, 1967, France and Italy. 105 min. Production Co.: Comacico / Les Films Copernic / Lira Films / Cinecidi. Contempt (Le mépris). Dir. Jean-Luc Godard, 1963, France and Italy. 102 min. Production Co.: Les Films Concordia / Rome Paris Films / Compagnia Cinematografica Champion. Breathless (À bout de souffle). Dir. Jean-Luc Godard, 1960, France. 90 min. Production Co.: Production Co.: Les Films Impéria / Les Productions Georges de Beauregard / Société Nouvelle de Cinématographie Sunrise: A Song of Two Humans. Dir. F.W. Murnau, 1927, U.S.A. 94 min. Production Co.: Fox Film Corporation. Feature Films Programmed in Godard Forever: Part Two at TIFF Bell Lightbox (October 3 – December 22, 2014) Goodbye to Language 3D (Adieu au langage 3D). Dir. Jean-Luc Godard, 2014, France. 70 min. Production Co.: Wild Bunch. 3x3D (Les trois desastres). Dirs. Jean-Luc Godard, Peter Greenaway, Edgar Pera, 2013, Portugal and France. 70 min. Production Co.: Fundação Cidade de Guimarães. Socialism (Film Socialisme). Dir. Jean-Luc Godard, 2010, France and Switzerland.