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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.
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Phrases - Six Films (Paperback)
Jean-Luc Godard; Introduction by Stuart Kendall; Translated by Stuart Kendall
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R720
R603
Discovery Miles 6 030
Save R117 (16%)
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Ships in 10 - 15 working days
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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.
Artist and photographer Joke Robaard, originally trained in
fashion, investigates human configurations (e.g., networks of
friends or neighbors). After "directing" individuals into certain
positions and patterns in relation to one another, she photographs
them, using clothing to illustrate where connections lie and how
they constantly shift.
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