Cinema is quite simply a unique book from one of the most influential film-makers in the history of cinema. Here, Jean-Luc Godard looks back on a century of film as well as his own work and career in the industry. Born with the twentieth century, cinema became not just the century's dominant art form but its best historian. Godard argues that - after the century of Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers - film and history are inextricably intertwined. Against this backdrop, Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. As the conversation develops, Godard expounds on his central concerns - how film can 'resurrect the past', the role of rhythm in film, and how cinema can be an 'art that thinks'. Cinema: the archaeology of film and the memory of a century is a dialogue between Godard and the celebrated cinphile Youssef Ishaghpour. Here Godard comes closest to defining a lifetime's obsession with cinema and cinema's lifelong obsession with history.

Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinema to his later writings for Cahiers du Cinema, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself,his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950-1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard's career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

French director Jean-Luc Godard's deconstruction of the process of construction, both of film narrative and The Rolling Stones' song 'Sympathy for the Devil'. The film presents a collage for the viewer to engage with as they like. Interweaved is footage of the Stones in the studio, writing, rehearsing and recording the famous song, and footage of a group of Black Power protestors in a used car lot, brandishing guns and reading revolutionary tracts.

French director Jean-Luc Godard's deconstruction of the process of construction, both of film narrative and The Rolling Stones' song 'Sympathy for the Devil'. The film presents a collage for the viewer to engage with as they like. Interweaved is footage of the Stones in the studio, writing, rehearsing and recording the famous song, and footage of a group of Black Power protestors in a used car lot, brandishing guns and reading revolutionary tracts.

Jean-Luc Godard writes and directs this French crime drama starring Anna Karina, Claude Brasseur and Sami Frey. Streetwise Parisians Franz and Arthur (Frey and Brasseur) team up with the shy Odile (Karina) to plan a robbery. As the trio's overdeveloped fantasies are worked out whilst visiting the Louvre, cafés and even play-acting shootouts, it soon becomes apparent that the robbery is not going to go according to plan...

Jean-Luc Godard's homage to Hollywood pulp fiction movies of the 1940s which also gave its name in the 1990s to Quentin Tarantino's production company. Franz (Sami Frey) and Arthur (Claude Brasseur), a couple of Parisian streetwise kids team up with the shy Odile (Anna Karina) to plan a robbery. The trio's over-developed fantasies come together whilst visiting the Louvre, cafes and even play-acting shoot-outs and it soon becomes apparent that the robbery is definitely not going to go according to plan.

Six short films about Paris by French directors. Jean Luc Godard's film concerns a girl who is writing to her two lovers. Claude Chabrol turns in a sketch about a quarreling couple. Eric Rohmer offers a tale about a salesman who fears he has killed a tramp. Films by Jean Douchet, Jean Rouch and Jean-Daniel Pollet are also included.

Private eye Lemmy Caution (Eddie Constantine) is catapulted into space and ends up in Alphaville, a city run by domineering scientist Dr von Braun (Howard Vernon). After Caution sees his chief contact being killed, he becomes determined to strike at Alphaville's cold heart: a powerful computer system that stamps out all traces of individuality and emotion in the populace it controls. Director Jean-Luc Godard used contemporary Parisian locations for his offbeat futuristic thriller, whilst Eddie Constantine, as the detective hero, reprises a role he had already played in a number of B-movie policiers.

One of Jean-Luc Godard's most reknowned films in which Ferdinand (Jean-Paul Belmondo) leaves his wife and child and runs off with the babysitter Marianne (Anna Karina). The pair head south to find Marianne's brother, with Ferdinand getting caught up in Marianne's crimes along the way as they both spiral toward destruction. Memorable for Raoul Coutard's deep and lush photography, it offers a spontaneous musical sequence under the pine trees, elements of the gangster genre and a tragic account of the transience of love, meanwhile Godard manages to address the nature of the film medium itself.