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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. -
JLG Season in Regina Final
JLG Season in Regina Exhibitions, Openings, Screenings, and Events: September December 2010 Continuing. Dunlop Art Gallery Sherwood Village. In Searching for Regina Skies Dennis J. Evans: July 24- Sept 26, 2010 Using the sky as catalyst and metaphor, this exhibition by Dennis J. Evans includes photographs from the past 30 years (starting with a trip through Saskatchewan in 1979). The exhibition reveals a dialogue between present-day Regina, Saskatchewan, its spaces and its people, and other places, people and times as captured by the artist's camera. In his search for signs of human interconnectedness, Evans' eyes are open to coincidences and his path is determined by experiences of serendipity. Curated by Jeff Nye. www.dunlopartgallery.org Wednesday September 8, 7-9 pm: Mysteria Gallery. Dwelling In Time & Space Bradley Olson & Don Hall. Sept 8- Oct 9. Urban commercial landscape from Columbus, Ohio and prairie landscapes for Saskatchewan are seen in multiple images, so that a series of similar images within a physical reality is used as a strategy to illustrate the passage of time. The repetitive realism could be seen in relation to Godard's use of long takes which erases the interruptions of cinematic montage. www.mysteria.ca Friday September 10: 5:30-7:30. Nouveau Gallery. Our Royal Guests Grant McConnell Sept 10- Oct 9 Our Royal Guests is based on a life of looking at Velazquez, following a series of visits to the Velazquez room in the Prado in Madrid. www.nouveaugallery.com Thursday September 16, 5-8 pm: Fifth Parallel Gallery, University of Regina SonImage September 6th - 18th, 11am - 4pm Mon - Fri, and Sat September 18. -
Introduction in FOCUS: Revoicing the Screen
IN FOCUS: Revoicing the Screen Introduction by TESSA DWYER and JENNIFER o’mEARA, editors he paradoxes engendered by voice on-screen are manifold. Screen voices both leverage and disrupt associations with agency, presence, immediacy, and intimacy. Concurrently, they institute artifice and distance, otherness and uncanniness. Screen voices are always, to an extent, disembodied, partial, and Tunstable, their technological mediation facilitating manipulation, remix, and even subterfuge. The audiovisual nature of screen media places voice in relation to— yet separate from—the image, creating gaps and connections between different sensory modes, techniques, and technologies, allowing for further disjunction and mismatch. These elusive dynamics of screen voices—whether on-screen or off-screen, in dialogue or voice-over, as soundtrack or audioscape— have already been much commented on and theorized by such no- tables as Rick Altman, Michel Chion, Rey Chow, Mary Ann Doane, Kaja Silverman, and Mikhail Yampolsky, among others.1 Focusing primarily on cinema, these scholars have made seminal contribu- tions to the very ways that film and screen media are conceptual- ized through their focus on voice, voice recording and mixing, and postsynchronization as fundamental filmmaking processes. Altman 1 Rick Altman, “Moving Lips: Cinema as Ventriloquism,” Yale French Studies 60 (1980): 67–79; Rick Altman, Silent Film Sound (New York: Columbia University Press, 2004); Michel Chion, The Voice in Cinema, trans. Claudia Gorbman (New York: Columbia Univer- sity -
The Carlyle Society Papers
THETHE CARLYLECARLYLE SOCIETYSOCIETY PAPERSPAPERS -- SESSIONSESSION 2012-20132010-2011 NewNew SeriesSeries No.25No.23 PrintedPrinted by by– www.ed.ac.uk/printing – www.pps.ed.ac.uk THE CARLYLE SOCIETY SESSION 2012-2013 OCCASIONAL PAPERS 25 • Edinburgh 2012 1 2 President’s Letter 2012 has been a momentous year, the publication of volume 40 of the Carlyle Letters a milestone celebrated in July by an international gathering in George Square in Edinburgh, and an opportunity for the Society to participate in the form of a memorable Thomas Green lecture by Lowell Frye. The 50-odd people who took part in three days’ discussions of both Carlyles ranged from many countries, and many of them were new names in Carlyle studies – a hopeful sign for the future. At the same conference, another notable step gained: many new members for the Carlyle Society, several of them life members. And many members willing to join the digital age by having their publications sent by internet – a real saving in time and cost each summer as the papers are published, and the syllabus for the new session sent out worldwide. Further members willing to receive papers in this form are invited to write in to the address below. Obviously, we will continue to produce the papers in traditional form, and many libraries continue to value their annual appearance. One further part of the celebrations of our 40th volume remains in the form of a public lecture on Thomas Carlyle and the University of Edinburgh in the David Hume Tower on 15 November 2012. By then the actual volume should be to hand from North Carolina, where Duke Press has pledged its continued support as the edition moves, hardly believably, to complete the letters that have survived between the Carlyles. -
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. -
JEAN-LUC GODARD Épisodes Un Et Deux
JEAN-LUC GODARD ÉPISODES UN ET DEUX CONCEPTION ET MISE EN SCÈNE EDDY D’aranjo Jean-Luc Godard dans Caméra-oeil, 1967 LA COMPAGNIE Après eddy, performance documentaire semi-autobiographique, d’après les romans d’Édouard Louis, présenté au Théâtre National de Strasbourg en 2018, notre compagnie continue de sonder les possibilités d’un théâtre politique contemporain, et les moyens d’un accueil en son sein des voix mineures et des narrations marginales. Poursuivant notre étude de la notion d’auteur, nous proposons cette fois un portrait au long cours de Jean-Luc Godard - et à travers lui du second vingtième siècle, et de l’histoire de la gauche artistique française. Nous nous arrêterons, chemin faisant, sur quelques films marquants, émouvants et significatifs, où se mêlent l’humour et le chagrin, le désir et l’analyse - entre autres À bout de souffle, Le mépris, Caméra-oeil, La chinoise, Sauve qui peut (la vie), Histoire(s) du cinéma... Le passé et le pré- sent s’y regardent et s’y confrontent sans cesse, mêlant fiction, documentaire et performance, cherchant par l’art la vie plus ample, ou, au moins, le paysage de nos mélancolies héritées. Chacun des deux épisodes constitue un spectacle autonome. Ils peuvent être joués seuls, indépendemment l’un de l’autre, ou ensemble, dans une version intégrale. Le premier, Je me laisse envahir par le Vietnam (1930 - 1972), sera créé en janvier 2021, à La Commune, Centre Dramatique National d’Aubervilliers. Le second, J’attends la mort du cinéma (1973 -), au Théâtre National de Strasbourg, au cours de la saison 2021-2022. -
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 ............................................................................ -
Fiction and Newsreel Documentary in Godard's Cinema
Fiction and Newsreel Documentary in Godard’s Cinema PIETRO GIOVANNOLI DOCUMENTARY AND FICTION. AN EMBLEMATIC LEGEND There is a legend that Godard would have been one of the special guests in the live broadcast of the Moon landing on the First National French channel (ORTF1) and that he would have pretended that the world-wide televised images were just a really convincing fake (“ce direct est un faux”; “ce qu’on voit c’est un film monsieur”).1 These phrases, which presumably were never uttered by Godard—who, in his most violent Marxist-Maoist period, would have been a very unlikely guest for such an event—are nev- ertheless emblematic of the close relationship that Godard’s cinema main- tains with both fiction and documentary or—more specifically to the sub- ject of our volume—to newsreel cinema. A dozen years later the successful mission of the Apollo 11, Godard, guest of Jean-Luis Burgat at the live tap- 1 Guillas 2009, Hansen-Løve 2010. Following Karel 2003: 5, Godard would have expressed his doubts in the “journal de TF1”. – In an interview with A. Fleischer (director of MORCEAUX DE CONVERSATIONS AVEC JEAN-LUC GODARD), when asked if “Le commentaire de Jean-Luc Godard sur la non-vérité de l’homme sur la Lune est-il confirmé?” Fleischer answered “Godard est capable de toutes sortes de provocations, y compris sur des thèmes plus graves. On a parlé même d’une certaine forme de négationnisme chez lui. Dans ce cas, il pourrait en effet nier l’homme sur la Lune, puisque cet homme est américain” (Fleischer 2009). -
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. -
L-G-0002402053-0003476196.Pdf
A Companion to Jean-Luc Godard Wiley-Blackwell Companions to Film Directors The Wiley-Blackwell Companions to Film Directors survey key directors whose work together constitutes what we refer to as the Hollywood and world cinema canons. Whether Haneke or Hitchcock, Bigelow or Bergmann, Capra or the Coen brothers, each volume, comprised of 25 or more newly commissioned essays written by leading experts, explores a canonical, contemporary and/or controver- sial auteur in a sophisticated, authoritative, and multi-dimensional capacity. Indi- vidual volumes interrogate any number of subjects – the director’s oeuvre; dominant themes, well-known, worthy, and under-rated films; stars, collaborators, and key influences; reception, reputation, and above all, the director’s intellectual currency in the scholarly world. Published 1. A Companion to Michael Haneke, edited by Roy Grundmann 2. A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague 3. A Companion to Rainer Werner Fassbinder, edited by Brigitte Peucker 4. A Companion to Werner Herzog, edited by Brad Prager 5. A Companion to Pedro Almodóvar, edited by Marvin D’Lugo and Kathleen Vernon 6. A Companion to Woody Allen, edited by Peter J. Bailey and Sam B. Girgus 7. A Companion to Jean Renoir, edited by Alastair Phillips and Ginette Vincendeau 8. A Companion to Francois Truffaut, edited by Dudley Andrew and Anne Gillian 9. A Companion to Luis Buñuel, edited by Robert Stone and Julian Daniel Gutierrez-Albilla 10. A Companion to Jean-Luc Godard, edited by Tom Conley and T. Jefferson Kline A Companion to Jean-Luc Godard Edited by Tom Conley and T.