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.

Jean-Luc Godard directs this allegorical cine-essay meditating on the history, culture, philosophy and economics of modern Europe. Described by Godard as 'a symphony in three movements', the film opens with a depiction of Europe as a luxury cruise ship in the Mediterranean sea, peopled with passengers of many countries, backgrounds and languages. The second segment, set in France, unfolds as a family drama in which two children summon their parents to a 'tribunal of their childhood', demanding answers on the themes of liberty, equality, and fraternity. The third section traces an abstract and non-chronological history of the West, taking in the Mediterranean territories of Egypt, Palestine, Odessa, Hellas, Naples, and Barcelona through a montage of film clips, images and music.

Documentary charting the rise and fall of the friendship between Jean-Luc Godard and Francois Truffaut, the two leading filmmakers of the French New Wave in the 1950s and '60s. Drawing heavily on archive footage, film clips and interviews, the film shows how the political and artistic differences between the two men eventually caused them to disagree so vehemently in the aftermath of the May 1968 strikes in France that they remained enemies until Truffaut's death in 1984.

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.

Music from Carpenter, Erich Korngold, Ruggiero Leon Cavallo, Jean-Baptiste Lully, Giacomo Puccini, Jean Philippe Rameau, Giuseppe Verdi and Richard Wagner. Ten film directors set the music of the operatic greats to contemporary images.

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.