Jean-Luc Godard könyvei a rukkolán
Jean-Luc Godard - A Woman Is a Woman / A Married Woman / Two or Three Things That I Know About Her
Ehhez a könyvhöz nincs fülszöveg, de ettől függetlenül még rukkolható/happolható.
Jean-Luc Godard - Godard on Godard
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.
Jean-Luc Godard - Introduction to a True History of Cinema and Television
In 1978, just before returning to the international stage for the second phase of his career, the world’s most renowned art-film director then and now, Jean-Luc Godard, improvised a series of fourteen one-hour talks at Concordia University in Montreal as part of a projected video history of cinema. These talks, published in French in 1980 and long out of print, have never before been translated into English. For this edition, the faulty and incomplete French transcription has been entirely revised and corrected, working from the sole videotape copies of the lectures, housed in the Concordia University archives. For this project, Godard screened for a dozen or so students his own famous films of the 1960s—watching them himself for the first time since their production—alongside single reels of some of the films which most influenced his work (by Eisenstein, Dreyer, Rossellini, the American directors of the 1950s and many others). Working at the dawn of the video age, a technology which was to be essential to his completion of the project many years later, as the visual essay Histoire(s) du cinéma, Godard used pieces of 35mm film, projected in an auditorium, to approximate the historical montage he was groping towards. He then held forth, in an experience he describes as a form of ‘public self-psychoanalysis’, on his personal and professional relationships (with François Truffaut, Anna Karina, Raoul Coutard, film producers and audiences), working methods, aesthetic preferences, political beliefs and, on the cusp of 50, his philosophy of life. The result is the most extensive and revealing account ever of his work and critical opinions. Never has Godard been as loquacious, lucid and disarmingly frank as he is here. This volume is certain to become one of the great classics of film literature, by perhaps the wittiest and most idiosyncratic genius cinema has known. Readers familiar with the Histoire(s) du cinéma video project, famous for its enigmatic juxtapositions of fragments of texts and images, will find some of the same works discussed here, providing an invaluable key to the meaning of Godard’s later collages. Two editions of the book will be printed: a sewn-binding, cloth-covered library edition and a sewn-binding paperback with a thick (15 pt.) card cover that will not curl. Only the best-quality printing and binding materials and techniques are being used to create a handsome and durable volume in either edition. This will be one of the most attractive and well-made books you own. The book is 558 pages, with 150,000 words from Godard’s talks, 30,000 words of commentary and 80 full-page illustrations, twenty-four of which are in Godard’s hand and the rest film stills he manipulated with a photocopier for the original edition of the book. As a bonus, with every on-line purchase of the book a volume in caboose's new series Kino Agora will be given away free of charge. A new title in the series will be introduced every few months throughout 2012 and 2013 and shipped with the Godard. Kino-Agora titles are also available as e-books from Amazon and Apple.
Jean-Luc Godard - Pierrot le Fou
Jean-Luc Godard's Pierrot le fou (1965), made at the height of the French New Wave, remains a milestone in French cinema. More accessible than his later films, it represents the diverse facets of Godard's concerns and themes: a bittersweet analysis of male-female relations; an interrogation of the image; personal and international politics; the existential dilemmas of consumer society. This volume brings together essays by five prominent scholars of French film. They approach Pierrot le fou from the perspectives of image-and-word-play, aesthetics and politics, history, and high- and popular culture. A full filmography and a selection of reviews are included.
Jean-Luc Godard - Bevezetés egy (valódi) filmtörténetbe
„A film művészettörténete nemcsak stílusokat, műfajokat, iskolákat metsz keresztül, de magukat a filmeket is, hiszen egyetlen filmben több hagyomány is keresztezheti egymást. A »valódi filmtörténetet«, ahogy Godard nevezete, ezért nem dokumentumok, nyilatkozatok, gyártási statisztikák vagy szerzői életrajzok, hanem mélyreható formai elemzések alapján lehet csak megírni.” (Kovács András Bálint)
Jean-Luc Godard - Youssef Ishaghpour - Cinema
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. Born with the twentieth century, cinema became not just the century's dominant art form but its best historian. Godard argues that - after Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers - film and history are inextricably intertwined. Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. He 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." Here Godard comes closest to defining a lifetime's obsession with cinema and cinema's lifelong obsession with history.
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