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Jean-Luc Godard's early films revolutionized the language of cinema. Hugely prolific in his first decade--Breathless, Contempt, Pierrot le Fou, Alphaville, and Made in USA are just a handful of the seminal works he directed--Godard introduced filmgoers to the generation of stars associated with the trumpeted sexuality of postwar movies and culture: Brigitte Bardot, Jean Seberg, Jean-Paul Belmondo, and Anna Karina. As the sixties wore on, however, Godard's life was transformed. The Hollywood he had idolized began to disgust him, and in the midst of the socialist ferment in France his second wife introduced him to the activist student left. From 1968 to 1972, Europe's greatest director worked in the service of Maoist politics, and continued thereafter to experiment on the far peripheries of the medium he had transformed. His extraordinary later works are little seen or appreciated, yet he remains one of Europe's most influential artists.Drawing on his own working experience with Godard and his coterie, Colin MacCabe, in this first biography of the director, has written a thrilling account of the French cinema's transformation in the hands of Truffaut, Rohmer, Rivette, and Chabrol--critics who toppled the old aesthetics by becoming, legendarily, directors themselves--and Godard's determination to make cinema the greatest of the arts.

In 1968, France was facing profound social change, and groundbreaking filmmaker Jean-Luc Godard (Louis Garrel) was embarking on an affair with his "La Chinoise" leading lady, the teenaged Anne Wiazemsky (Stacy Martin). The turbulence of their early times together, and the concurrent radicalization of his politics and work, are limned in Michael Hazanavicius telling take on Wiazemskys memoir. Brnice Bejo, Grgory Gadebois, Micha Lescot also star. 107 min. Widescreen; Soundtrack: French; Subti

In 1968, France was facing profound social change, and groundbreaking filmmaker Jean-Luc Godard (Louis Garrel) was embarking on an affair with his "La Chinoise" leading lady, the teenaged Anne Wiazemsky (Stacy Martin). The turbulence of their early times together, and the concurrent radicalization of his politics and work, are limned in Michael Hazanavicius telling take on Wiazemskys memoir. Brnice Bejo, Grgory Gadebois, Micha Lescot also star. 107 min. Widescreen; Soundtrack: French; Subti

Text: English, French (translation)

Chronicles Godard'ss journey from troubled childhood through his rise to the world'ss best-selling artist. With a Foreword written by Ozzy Osbourne, it includes a gallery of over 136 paintings plus numerous projects for celebrities and rock stars. Depicted are many of his closest friends and fans; Chris Angel, Gloria Estafan, Arnold Schwartznegger, among others. Oversized, coffee-table. Paper and Cloth available.

Text: English, French (translation)

A wide-ranging and accessible approach to Godard’s later work, and a major intervention in the study of film and ethics.Encounters with Godard takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godard’s multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of La Chinoise (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including Nouvelle vague (1990), Film socialisme (2010), Hélas pour moi (1993), and the magnum opus Histoire(s) du cinéma (1988–98). Wide-ranging and accessible, Encounters with Godard marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.

Michael Temple, James S Williams, Michael Witt

Jean-Luc Godard transformed the face of cinema with his prolific, influential and revolutionary body of work which includes such classics as "Breathless", "Weekend" and "Contempt" just to name a few. His video series Historie(s) Du Cinema, consisting of eight episodes made over a period of ten years is an extraordinary look at the medium through the eyes of this unique filmmaker. Hugely ambitious in scope, the series covers a wide range of topics from the birth of cinema to Italian neo-realism t

PB, 1972 Prentice-Hall / Spectrum. Two pages underlined in pencil, otherwise perfect! Cover glossy, spine tight, pages crisp, clean, unmarked. I ship within 24 hrs, but allow 6-14 days std shipping. Need it faster? Choose expedited shipping. Free USPS delivery conf. 1

240 pages, Folio. Minor shelfwear to DJ: crease running down middle of front inside flap. DJ in mylar. Small remainder mark on bottom page edges. Tightly bound, no marks. Volume is in Near Fine condition.

Book is in good condition. Minimal signs of wear. It May have markings or highlights, but kept to only a few pages. May not come with supplemental materials if applicable.

Jean-Luc Godard's Pierrot le fou (1965), made at the height of the French New Wave, remains a milestone in French cinema. More accessible than his later films, it represents the diverse facets of Godard's concerns and themes: a bittersweet analysis of male-female relations; an interrogation of the image; personal and international politics; the existential dilemmas of consumer society. This volume brings together essays by five prominent scholars of French film. They approach Pierrot le fou from the perspectives of image-and-word-play, aesthetics and politics, history, and high- and popular culture. A full filmography and a selection of reviews are included.

Probably the most prominent living filmmaker, and one of the foremost directors of the postwar era, Jean Luc-Godard has received astonishingly little critical attention in the United States. With Speaking about Godard, leading film theorist Kaja Silverman and filmmaker Harun Farocki have made one of the most significant contributions to film studies in recent memory: a lively set of conversations about Godard and his major films, from Contempt to Passion. Combining the insights of a feminist film theorist with those of an avant-garde filmmaker, these eight dialogues–each representing a different period of Godard's film production, and together spanning his entire career–get at the very heart of his formal and theoretical innovations, teasing out, with probity and grace, the ways in which image and text inform one another throughout Godard's oeuvre. Indeed, the dialogic format here serves as the perfect means of capturing the rhythm of Godard's ongoing conversation with his own medium, in addition to shedding light on how a critic and a director of films respectively interpret his work. As it takes us through Godard's films in real time, Speaking about Godard conveys the sense that we are at the movies with Silverman and Farocki, and that we, as both student and participant, are the ultimate beneficiaries of the performance of this critique. Accessible, informative, witty, and, most of all, entertaining, the conversations assembled here form a testament to the continuing power of Godard's work to spark intense debate, and reinvigorate the study of one of the great artists of our time.

This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In poor condition, suitable as a reading copy.

Book is in French, includes accompanying DVD. Cover has some light scuffs but overall looks bright, sharp, and attractive. Tight binding, pages are clean and crisp. Overall in great condition.

The first comprehensive treatment of the New Wave, this book remains the definitive study of the five directors who came to influence a generation of filmmakers.

Histoire(s) du cinéma es el proyecto más ambicioso encarado por Jean-Luc Godard en los últimos tiempos. Este monumental conjunto de videos realizado a lo largo de diez años constituye una síntesis impecable entre su oficio de crítico y su labor como cineasta. En este libro, Beatriz Sarlo, Jorge La Ferla, Rafael Filippelli y Eduardo Grüner asedian ese filme inclasificable y proliferante, no para obligarlo a que entregue respuestas sino para ofrecer una caja de resonancia a sus interrogantes.

Some thirty years ago filmmaker Jean-Luc Godard told critic Gene Youngblood, I am trying to change the world. He has pursued his revolution in works ranging from the explosive Breathless to the eloquent Contempt to the controversial Hail Mary and the postmodern Histoire(s) du cinéma, shaking up conventional formulas with boldly innovative ap-proaches to every aspect of cinema and video-including film criticism via provocative essays in Cahiers du Cinéma and interviews dating to the early years of his career. This book presents a varied selection of his conversations with critics, scholars, and journalists, spanning the 1960s to the 1990s and illuminating key facets of his life, work, and ideas. Topics include the seductiveness of cinema (Films are the only things by which to look inside of people, and that's why people are so fond of movies and why they'll never die); film as a blend of truth and beauty (I mix images and sounds like a scientist, I hope. The mystery of the scientific is the same as the mystery of the artist. So is the misery); and the personal realities of aging (Maybe it's that when you get old, in one way you feel younger and younger but still being old-young oldness, if I may say so, which is very. . .comforting). As challenging and evocative as they are quirky and unpredictable, these interviews cast light on Godard's lifelong position as a proudly unclassifiable thinker who feels, as he said in 1980, that a language is obviously made to cross borders. I'm someone whose real country is language, and whose territory is movies. David Sterritt is an associate professor of film at Long Island University and film critic of The Christian Science Monitor.

R100055493: 1999. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 256 pages - nombreuses photos en noir et blanc dans et hors texte. . . . Classification Dewey : 791.43-Cinéma