Godard On Godard (A Da Capo paperback)

Godard On Godard (A Da Capo paperback)

Jean-Luc Godard

Language: English

Pages: 292

ISBN: 0306802597

Format: PDF / Kindle (mobi) / ePub


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 Cinéma to his later writings for Cahiers du Cinéma, 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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the cinema. He is the French cinema, as Dostoievsky is the Russian novel and Mozart is German music. Listen to him : 'A good craftsman loves the board he planes . . . . There is a sublime awkwardness which remains indifferent to virtuosity - it is from this defect that emotion is born in the spectator, an emotion similar to that which guides us when we do something our skill condemns . . . . My craft is an apprenticeship ; which does not mean something which can be taught. . . . The film is a

contempt are not without a touch of Ingrid Bergman. But one has to have seen Birger Malmsten as the dreamy boy in Summer Interlude, and again, unrecognizably, as the respectable bourgeois in Thirst ; one has to have seen Gunnar Bjorn­ strand and Harriet Andersson in the first episode of Journey into Autumn, and again, with different eyes, different mannerisms, different body rhythms, in Smiles of a Summer Night, to realize the extent of Bergman's amazing ability to mould these cattle, as

Jury desperate need to dig one 's heels in : not to mention the prizewinners, that is, or the sixty-odd other films, . but to concentrate. exclusively on A.gnes Varda, Jacques Demy , Alain Res nals and Jacques Rozier - the French cmema of the future. As a matter of fact this is the only critical advantage afforded by the inter­ nationalization of the Tours Festival. All things considered, France emerges as a brilliant victor in the light of this Franco-foreign confrontation. Worth­ less as it

what direction ? Towards a Western style which will remind some of Conrad, others of Simenon, but reminds me of nothing wh atsoever, for I have seen nothing so completely new since - why not ? ­ Griffith. Just as the director of Bir th of a Nation gave one the impression that he was inventing the cinema with every shot, each shot of Man of the West gives one the impression that Anthony Mann is reinventing the Western, exactly as Matisse's portraits reinvent the features of Piero della Francesca.

film in the series Cineastes de Notre Temps, directed by Hubert Knapp and produced by Janine Bazin and A . S. Labarthe, as well as of a Pout Notre Plaisir programme, directed by Jacques Doniol- Valcroze. As for .. 1 62 Godard's televi#Q!u�pp�q.!�-'!'l!!§ - ang. the scandals they aroused - they are as innumerable as his interviews. It remains-merely for us to assure "the reader that this last chapter, 'Marginal Notes While Filming ', is central to Godard's work and, like it, far from finished.

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