Jean-Luc Godard's early films revolutionised the language of cinema for everyone, from the "Superbrats of Hollywood" to the political cinema of the Third World. Yet in 1968, he abandoned one of the most brilliant careers in French cinema to pursue his investigations into sound and image on the periphery of the industry he had rejected. Following a ...Read MoreJean-Luc Godard's early films revolutionised the language of cinema for everyone, from the "Superbrats of Hollywood" to the political cinema of the Third World. Yet in 1968, he abandoned one of the most brilliant careers in French cinema to pursue his investigations into sound and image on the periphery of the industry he had rejected. Following a protected childhood in Switzerland in the Second World War, the post-war years saw Godard as a troubled adolescent in Paris, where the prescribed courses of the Sorbonne were ignored in favour of the extraordinary teaching of Andre Bazin, the greatest of film critics. In the pages of "Cahiers du Cinema", Godard - together with Truffaut, Rohmer, Rivette and Chabrol - hammered out an aesthetic that would take the world by storm as the young critics swapped pens for cameras at the end of the 1950s to create the cinema of the nouvelle vague. Hugely prolific in his first 10 years - "A Bout de Souffle", "Le Petit Soldat", "Le Mepris," "Pierrot Le Fou", "Alphaville", "Made in USA" and many others all appeared in the 1960s - Godard became and remains one of the most adventurous and enigmatic film-directors at work in the world today.Read Less
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New. This item is printed on demand. Jean-Luc Godard's early films revolutionized the language of cinema. Hugely prolific in his first decade--"Breathless, Contempt, Pierrot le Fou, Alphaville, " and" Made in USA "are just a handful of the seminal works he dir.
Publishers Weekly, 2003-10-27 Not quite a biography, nor a guide for newcomers, this reckoning of Franco-Swiss director Jean-Luc Godard's still-evolving film and video oeuvre-encompassing Contempt, Alphaville, Week End, Tout Va Bien, King Lear, Histoire(s) du Cin?ma and more-is an annotated, episodic chronology, an approach reflecting Godard's own suspicion of narrative conventions. The former British Film Institute head of research, MacCabe has collaborated with Godard and has firsthand experience of Godard's methods, politics and aesthetics, as well as of the man himself. He begins with a somewhat awestruck accounting of several generations of Godard's patrician family, centered in French-speaking Switzerland (to which Godard returned in the early '70s and where he remains) and of the young Godard's eventual rebellion and break with them. MacCabe's account of the Nouvelle Vague's theoretical formation via the journal Cahiers du Cinema, which brought eventual directors Godard, Truffaut, Rivette, Rohmer and Chabrol under the ideological sway of critic Andre Bazin, is superb and worth the price of admission alone. MacCabe is terrific in giving concise shape to the political history of the 1960s, from which Godard's work then is inseparable. But finally, there's too much work for MacCabe to be able to account for it all, though he clearly outlines Godard's 30 years of collaboration with writer/editor/actress Anne-Marie Mieville (buttressed by a complete filmography by Sally Shafto), which has produced extraordinary experiments with video and sound. MacCabe ends with apocalyptic warnings about cinema's destruction (along with the world's), but the vein of elegiac, uncompromising resistance that pervades Godard's work is present here, as is its beauty. Illus. Agent, Andrew Wylie. (Jan.) (c) Copyright PWxyz, LLC. All rights reserved
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