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The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
The Language of Emotion in Godard's Films Anuja Madan (Cineaction 80
The Language of Emotion in Godard's Films Anuja Madan (Cineaction 80 2010) So, to the question ʻWhat is Cinema?ʼ, I would reply: the expression of lofty sentiments. —Godard, in an essay 1 Nana: Isnʼt love the only truth?2 Emotion in the New Wave films is a fraught concept. Critics like Raymond Durgnat have commented that the New Wave films are characterized by emotional “dryness,” but such a view fails to engage with the complexity of the films.3 In what may seem like a paradoxical statement, these films display a passionate concern for the status of emotional life while being simultaneously engaged in the critique of emotion. This paper seeks to discuss the complex dynamics of emotion in three of Jean-Luc Godardʼs films—Vivre Sa Vie (My Life to Live, 1962), Alphaville, une Étrange aventure de Lemmy Caution (Alphaville, A Strange Adventure of Lemmy Caution, 1965) and Week End (1967). All of them belong to the fertile period of the 60s in which Godardʼs aesthetic strategies became increasingly daring. These will be examined in relation to some of his critical writings. An important paradigm within which Godardʼs films will be analyzed is that of cinemaʼs relationship to reality. A foundational principle of the New Wave was the faith in the intrinsic realism of the cinema, something Bazin had expounded upon. However, according to Godard, Bazinʼs model of cinema was novelistic, the realist description of relationships existent elsewhere. In his model, the director constructs his film, dialogue, and mise-en- scene, at every point: Reality is formed as the camera is framing it. -
XIV:10 CONTEMPT/LE MÉPRIS (102 Minutes) 1963 Directed by Jean
March 27, 2007: XIV:10 CONTEMPT/LE MÉPRIS (102 minutes) 1963 Directed by Jean-Luc Godard Written by Jean-Luc Godard based on Alberto Moravia’s novel Il Disprezzo Produced by George de Beauregard, Carlo Ponti and Joseph E. Levine Original music by Georges Delerue Cinematography by Raoul Coutard Edited by Agnès Guillemot and Lila Lakshamanan Brigitte Bardot…Camille Javal Michel Piccoli…Paul Javal Jack Palance…Jeremy Prokolsch Giogria Moll…Francesa Vanini Friz Lang…himself Raoul Coutard…Camerman Jean-Luc Godard…Lang’s Assistant Director Linda Veras…Siren Jean-Luc Godard (3 December 1930, Paris, France) from the British Film Institute website: "Jean-Luc Godard was born into a wealthy Swiss family in France in 1930. His parents sent him to live in Switzerland when the war broke out, but in the late 40's he returned to Paris to study ethnology at the Sorbonne. He became acquainted with Claude Chabrol, Francois Truffaut, Eric Rohmer and Jacques Rivette, forming part of a group of passionate young film- makers devoted to exploring new possibilities in cinema. They were the leading lights of Cahiers du Cinéma, where they published their radical views on film. Godard's obsession with cinema beyond all else led to alienation from his family who cut off his allowance. Like the small time crooks he was to feature in his films, he supported himself by petty theft. He was desperate to put his theories into practice so he took a job working on a Swiss dam and used it as an opportunity to film a documentary on the project. -
GODARD FILM AS THEORY Volker Pantenburg Farocki/Godard
FILM CULTURE IN TRANSITION FAROCKI/ GODARD FILM AS THEORY volker pantenburg Farocki/Godard Farocki/Godard Film as Theory Volker Pantenburg Amsterdam University Press The translation of this book is made possible by a grant from Volkswagen Foundation. Originally published as: Volker Pantenburg, Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard, transcript Verlag, 2006 [isbn 3-899420440-9] Translated by Michael Turnbull This publication was supported by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie of the Bauhaus-Universität Weimar with funds from the German Federal Ministry of Education and Research. IKKM BOOKS Volume 25 An overview of the whole series can be found at www.ikkm-weimar.de/schriften Cover illustration (front): Jean-Luc Godard, Histoire(s) du cinéma, Chapter 4B (1988-1998) Cover illustration (back): Interface © Harun Farocki 1995 Cover design: Kok Korpershoek, Amsterdam Layout: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 891 4 e-isbn 978 90 4852 755 7 doi 10.5117/9789089648914 nur 670 © V. Pantenburg / Amsterdam University Press B.V., Amsterdam 2015 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright There’s a Problem with the Connection: American Eccentricity and Existential Anxiety Kim Wilkins 305165062 A thesis submitted in fulfilment of the degree of Doctor of Philosophy. University of Sydney. 1 I hereby declare that, except where indicated in the notes, this thesis contains only my own original work. As I have stated throughout this work, some sections of this thesis have been published previously. A version of Chapter Two features in Peter Kunze’s collection The Films of Wes Anderson: Critical Essays on an Indiewood Icon, published by Palgrave Macmillan in 2014, and Chapter Three was published under the title ‘The sounds of silence: hyper-dialogue and American Eccentricity’ as an article in New Review of Film and Television Studies no. -
Written and Directed by Jean-Luc Godard
FREEDOM DOESN'T COME CHEAP WRITTEN AND DIRECTED BY JEAN-LUC GODARD France / 2010 / 101 min. / 1.78:1 / Dolby SR / In French w/ English subtitles A Lorber Films Release from Kino Lorber, Inc. 333 W. 39th St. Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contact: Rodrigo Brandao Kino Lorber, Inc. (212) 629-6880 ext. 12 [email protected] Short 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, Hellas, Naples and Barcelona. Long synopsis A symphony in three movements. THINGS SUCH AS: The Mediterranean, a cruise ship. Numerous conversations, in numerous languages, between the passengers, almost all of whom are on holiday... An old man, a war criminal (German, French, American we don’t know) accompanied by his grand daughter... A famous French philosopher (Alain Badiou); A representative of the Moscow police, detective branch; An American singer (Patti Smith); An old French policeman; A retired United Nations bureaucrat; A former double agent; A Palestinian ambassador; It’s a matter of gold, as it was before with the Argonauts, but what is seen (the image) is very different from what is heard (the word). OUR EUROPE: At night, a sister and her younger brother have summoned their parents to appear before the court of their childhood. -
February 26, 2019 (XXXVIII:5) Jean-Luc Godard: BREATHLESS/À BOUT DE SOUFFLE (1960, 90 Min.)
February 26, 2019 (XXXVIII:5) Jean-Luc Godard: BREATHLESS/À BOUT DE SOUFFLE (1960, 90 min.) DIRECTED BY Jean-Luc Godard WRITING François Truffaut and Claude Chabrol (original scenario), Jean-Luc Godard (screenplay) PRODUCER Georges de Beauregard MUSIC Martial Solal CINEMATOGRAPHY Raoul Coutard FILM EDITING Cécile Decugis CAST Jean Seberg...Patricia Franchini Jean-Paul Belmondo...Michel Poiccard / Laszlo Kovacs Daniel Boulanger...Police Inspector Vital Henri-Jacques Huet...Antonio Berrutti Roger Hanin...Carl Zubart Van Doude...Himself Claude Mansard...Claudius Mansard play of shot-reverse shot' used in many Hollywood productions” Liliane Dreyfus...Liliane / Minouche (as Liliane David) (NewWaveFilm.com). In the article, Godard “praised the use of Michel Fabre...Police Inspector #2 shot-reverse shot as crucial to conveying a character’s mental Jean-Pierre Melville...Parvulesco the Writer point of view and their inner life.” In 1956, after returning to Jean-Luc Godard...The Snitch Paris from Switzerland and making his first two films, Godard Richard Balducci...Tolmatchoff returned to find that Cahiers du cinema, led by Francois Truffaut, André S. Labarthe...Journalist at Orly had become the leading film publication in France. Godard François Moreuil...Journalist at Orly would once again join the fray of French film enthusiasts championing the techniques of Hollywood auteurs like JEAN-LUC GODARD (b. December 3, 1930 in Paris, France) Hitchcock and Hawks, contributing articles “on some of his once said “All great fiction films tend toward documentary, just favorite auteurs such as Otto Preminger and Nicholas Ray” and as all great documentaries tend toward fiction.” Godard began his continuing “his theoretical debate with André Bazin” who film career with a short, which he directed, wrote, edited, acted “continued to commend the long take for its approximation to in, and did cinematography for. -
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 ............................................................................ -
Great Authors in French Cinema Course Description Course Structure
Institut de Langue et de Culture Françaises Institut Catholique de Paris Great authors in French cinema By Patricia Maincent Course description This film course will focus on the history of french cinema, from its scientific begin- ning at the end of the 19th century, along with the industrial revolution, through the diversity of representations in the 20 th century up to the beginning of the 21st. In order to embody those changes, we will study the important authors, whose contribu- tion have made french cinema unique in its style. Historical films will be the main guideline, but in its widest aspect, from opinion position to historical reenactment and how documentary becomes historical fact. This theme has been fully explored since the beginning of cinema, and that will allow us to question representation and its di- verse evolution along with society. Leading French filmmakers challenged this redis- covery of the past, guiding us through the analysis of the language of the moving im- age. Course structure Each course will develop chronologically one moment of french cinema focusing on one filmmaker and one film. but also the historical context, of the film’s release and History. Each film will be analysed in its filmic components, (sound, editing, camera movements..) and of course discussed ; history being interesting in order to have a better view on our world. Week 1 : from the pioneers to the cinema of enchantment From document to fiction, the Lumière Brothers and Georges Méliès The trip to the moon by George Méliès, 1902 The Lumiere Brothers’ first films, 1895-1897 Méliès’ creativity brought ingenuity and poetry to followers such as Jean Cocteau or Jacques Demy Week 2 : Poetic realism : french classical cinema with Jean Renoir As France experienced its first populist movement, with the Front Populaire in 1935 and before the deterioration of the European situation with the second world war, french cinema will develop its aesthetic. -
The French New Wave
The French New Wave and European art cinema, post-1960 • Jean-Luc Godard, Breathless (1960) • The French New Wave: Godard and François Truffaut • Italy in the 1960s: Federico Fellini, Michaelangelo Antonioni, Pier Paolo Pasolini • Other countries: Ingmar Bergman (Sweden), Luis Buñuel (return to France and Spain) The French New Wave (late 1950s-early 1960s) • Henri Langlois and the Paris Cinematèque • André Bazin and the realist tradition • Cahiers du Cinema • From Critics to Auteurs • Against the “Cinema of Quality” • Discovery of American genre films • Cinematic, rather than literary, values • Importance of personal expression • Spontaneity and digression Jean-Luc Godard (1930- ) • Godard as critic (1950s) • Early New Wave films (the 1960s) • Genre explorations (Breathless, Pierrot le fou) • Structural experiments (My Life to Live, 2 or 3 Things I Know About Her) • To the extremes (Weekend) • Political films (1968-1972) • Experimental videos (1975-present) • Return to feature filmmaking (1981-present) • Exploration of film history (1990s) Breathless • Reinventing film from the ground up • Basis in American gangster films, but everything is deglamorized • Location shooting, natural light, handheld camera • Use of jump cuts, mismatches, and other violations of continuity editing rules • Self-reflexivity: Jean-Paul Belmondo and Bogart • Jean Seberg: America/France • Use of digressions and suspensions of action • Reality of story/reality of film • Ambiguities of character, of identification, of ending More on Godard’s early films (1960-68) • Jump cuts and expanded montage • Cinematic self-consciousness • Allusions to the history of film • Play/experimentation with genres • Self-conscious awareness of being in a film • Film as collage • Digression and citation • Disjunction of sound and image • Subjective and Objective • Film as personal expression vs. -
Jean-Luc Godard's JLG/JLG
0RXUQLQJ6RXQGDQG9LVLRQ-HDQ/XF*RGDUG V-/*-/* 1RUD0$OWHU Camera Obscura, 44 (Volume 15, Number 2), 2000, pp. 74-103 (Article) 3XEOLVKHGE\'XNH8QLYHUVLW\3UHVV For additional information about this article http://muse.jhu.edu/journals/co/summary/v015/15.2alter.html Access provided by Birkbeck College-University of London (15 Mar 2015 13:35 GMT) 03-Alter 74-103=30pgs 1/25/01 1:45 PM Page 74 03-Alter 74-103=30pgs 1/25/01 1:45 PM Page 75 Mourning, Sound, and Vision: Jean-Luc Godard’s JLG/JLG Nora M. Alter Where is your authentic body? You are the only one who can never see yourself except as an image. —Roland Barthes, Roland Barthes by Roland Barthes I know now that if I make a picture it’s just to speak about what I’m doing, about myself, but it’s also giving something to other people so that they can take a part of me. —Jean-Luc Godard, Godard: Images, Sounds, Politics The shrill and raucous call of a crow is superimposed over an unpopulated, barren country field marked by a path leading into the horizon. Not only is the crow conspicuously absent on the screen, but its sounds are conspicuously disjunct, too loud to be part of the landscape. This sequence, sometimes with the mutter- ing voice of the narrator superimposed, is repeated at irregular intervals throughout Jean-Luc Godard’s JLG/JLG—Autoportrait de décembre [ JLG/JLG—Self-portrait in December] (France, 1994). But how are we to interpret it? Is it primarily a visual, pictorial image of a now lifeless place? Or does the sequence prioritize the audial track, presenting a warning cry, or a portent? I want to sug- gest that, consistent with much of Godard’s work, this sequence Copyright © 2000 by Camera Obscura Camera Obscura 44, Volume 15, Number 2 Published by Duke University Press 75 03-Alter 74-103=30pgs 1/25/01 1:45 PM Page 76 76 • Camera Obscura does not hierarchize the aural and the visual. -
In the Cinema 1
BOOI<COVER AS in the Cinema 1 Jean-Luc Godard used books in his earlyfilms as pa and numerous volumes with clearly legible cover· the diegesis of these films. Starting with P 1ERR Godard began to display extreme close-ups of bo< part of the diegesis. He turned the cover titles ir fi Im intertitles. His tentative use of these extradieg L E F o u became much more thorough in o Eu x QUE JE SAIS D'ELLE.Inthisfilm,Godard used ups from Gallimard's Idees series, making the cove that serve to interpret the images that frame the titles in o Eu x o u r Ro 1s cHosE s have gone u1 In subsequent films over the next few years, Got bookcovers as intertitles, but, by that most im-me began to question the value of print culture for e) ean-Luc Godard I< E V I N J. HAVE S mise-en-scene, DEUX OU TROIS CHOSES OUE JE SAIS D'ELLE(TwoorThreeThingsiKnowaboutHer,1g66) pear aS part Of marks~ significant advance in the complexity of Jean-Luc Godard's visual references to books. While he had incorporated numerous books in his ear F o u, however, lier films, nearly all of them occur as part of his mise-en-scene and there fore belong to the diegesis of each film. In P 1ERR or LE F o u (1965), he had ; that were not tentatively incorporated a few extreme close-ups from bookcovers that were not part of the diegesis, a technique o Eu x o u T Ro 1 s cHosE s expands ; akin to silent upon as it lifts the extradiegetic book to a new level of significance.