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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.

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.

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.

After the subject” and beyond Heideggerian ontology,Marion suggests, there is the sheer givenness ofphenomena without condition. In theology, this liberationmeans rethinking God in terms of phenomena such aslove, gift, and excess. In addition to an important essayby Marion, “The Reason of the Gift,” and a dialoguebetween Marion and Richard Kearney, this book containsstimulating essays by ten other contributors: Lilian Alweiss,Eoin Cassidy, Mark Dooley, Brian Elliott, Ian Leask,Shane Mackinlay, Derek Morrow, John O’Donohue,Joseph S. O’Leary, and Felix Ó Murchadha.

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.

This introduction to the philosophy of Jean-Luc Nancy gives an overview of his philosophical thought to date and situates it within the broader context of contemporary French and European thinking. The book examines Nancy’s philosophy in relation to five specific areas: his account of subjectivity; his understanding of space and spatiality; his thinking about the body and embodiment; his political thought; and his contribution to contemporary aesthetics. In each case it shows the way in which Nancy develops or moves beyond some of the key concerns associated with phenomenology, post-structuralism, and what could broadly be termed the “post-modern.”

Being and God argues that defensible philosophical theorization concerning the topic “God” is both possible and necessary within the framework of an adequate systematic philosophy—which must include a theory of Being—but is not possible in the absence of such a framework. The book provides critiques of philosophical approaches to this topic that have not relied on such frameworks; targets include the most important and influential treatments presented by historical, contemporary analytic, and contemporary continental philosophers. The book also further develops the systematic framework presented in Puntel’s Structure and Being (2008), extending a line of argumentation to show that the absolutely necessary dimension of Being is, when more fully explicated, appropriately named “God.”

Unread book in perfect condition.

The philosophical work of Jean-Luc Marion has opened new ways of speaking about religious convictions and experiences. In this exploration of Marion’s philosophy and theology, Christina M. Gschwandtner presents a comprehensive and critical analysis of the ideas of saturated phenomena and the phenomenology of givenness. She claims that these phenomena do not always appear in the excessive mode that Marion describes and suggests instead that we consider degrees of saturation. Gschwandtner covers major themes in Marion’s work―the historical event, art, nature, love, gift and sacrifice, prayer, and the Eucharist. She works within the phenomenology of givenness, but suggests that Marion himself has not considered important aspects of his philosophy.

Now including a bonus essay on themes of sentimentality and globalisation in Jean-Pierre Jeunet's 2001 film, Le Fabuleux Destin d'Amélie Poulain.Jean-Luc Godard's early films - up to the pivotal Weekend (1967) were determined to prove the adage that all you need to make a movie is "a girl and a gun". Whether in crime thrillers like the era-defining A Bout de Souffle (1960) or philosophical science-fiction masterworks like Alphaville (1965), the Nouvelle Vague auteur alternated between romance, philosophy, and action.The violent acts that appear in Godard's early films seem 'muted' in some way, however, prompting this exhaustive study of the director's techniques for depicting violence. Gunshots and car crashes happen off-screen, bottles are smashed silently on victims' skulls, and fistfights are played for comic effect.This book explores three possible explanations for Godard's singular approach to the depiction of violence.Working with close reference to classic films including A Bout de Souffle, Vivre Sa Vie, Alphaville, Pierrot le Fou, Weekend and Le Mépris, Killing me Softly is a challenging academic study of the early work of one of the world's greatest living directors.

Maryel Locke and Charles Warren present twelve original essays by film critics, filmmakers, theologians, and philosophers that examine the 1985 film Hail Mary, directed by Jean-Luc Godard, and its companion film, The Book of Mary, directed by Anne-Marie Miéville. (The films are collectively released under the title Hail Mary.) The interpretative essays offer a rich spectrum of analysis and opinion representing many divergent points of view about critical theory, the status of women, and the value of film as a medium. Locke and Warren also include two important interviews with Godard, brief biographies and complete filmographies of Godard and Miéville, a short breakdown of the two films including the English subtitles, and the script of the French dialogue to complete a remarkably comprehensive treatment of this important film.The only film based on the biblical story of the Virgin Mary, Godard’s Hail Mary is a contemporary Swiss/French representation of Mary’s virgin pregnancy, the birth of her son, and her relationship with Joseph and her young child. Miéville’s companion film is about a young girl named Mary whose parents get a divorce. While neither film is overtly religious, the initial release of Hail Mary brought public protests, court cases, a physical attack on Godard, and condemnation by the Pope.

Crisp copy with a sturdy binding and light shelf wear. Used copies may not include access codes or Cd's.

After the subject” and beyond Heideggerian ontology,Marion suggests, there is the sheer givenness ofphenomena without condition. In theology, this liberationmeans rethinking God in terms of phenomena such aslove, gift, and excess. In addition to an important essayby Marion, “The Reason of the Gift,” and a dialoguebetween Marion and Richard Kearney, this book containsstimulating essays by ten other contributors: Lilian Alweiss,Eoin Cassidy, Mark Dooley, Brian Elliott, Ian Leask,Shane Mackinlay, Derek Morrow, John O’Donohue,Joseph S. O’Leary, and Felix Ó Murchadha.

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.

This volume of essays constitutes a comprehensive and interdisciplinary engagement with Jean-Luc Godard's current film and video work. Its key focus is the eight-part magnum opus Histoire(s) du cinéma (1988-1998), an extraordinary experiment in film history that attempts to tell 'all the stories of cinema' whilst remaining true to the specificity of what 'the cinema alone' contributed to twentieth-century culture.The Cinema Alone features contributors from France, Britain and America who discuss Godard's recent work both in the context of his earlier corpus and in relation to subjects such as literature, art history, philosophy, silent cinema, European culture, film theory, video and digital technology. The collection will make an important contribution to critical debates on the past, present and future of Film and Media Studies as cinema enters its second century.

In shrink wrap. Looks like an interesting title!

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. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:0500470103

Reflexivity refers to those moments in fiction and film when the work suddenly calls attention to itself as a fictional construct. For example, in literature a character might suddenly step out of the story and address the reader.

2022. Paperback. Pap. Slight shelf wear. Else a bright. clean copy. Very Good.

This book brings together a selection of Jean-Luc Moulène's photographs, sculptures and drawings, from 1977 to 2008, with an emphasis on work done in the past decade. Moulène's multimedia activities--mostly recording in photography--utilize negations and political interventions in everyday life.