A Companion to Jean-Luc Godard
This compendium of original essays offers invaluable insights into the life and works of one of the most important and influential directors in the history of cinema, exploring his major films, philosophy, politics, and connections to other critics and directors.
- Presents a compendium of original essays offering invaluable insights into the life and works of one of the most important and influential filmmakers in the history of cinema
- Features contributions from an international cast of major film theorists and critics
- Provides readers with both an in-depth reading of Godard’s major films and a sense of his evolution from the New Wave to his later political periods
- Brings fresh insights into the great director’s biography, including reflections on his personal philosophy, politics, and connections to other critics and filmmakers
- Explores many of the 80 features Godard made in nearly 60 years, and includes coverage of his recent work in video
Table of Contents
Notes on Contributors viii
Introduction 1 Tom Conley and T. Jefferson Kline
1 From Pen to Camera: Another Critic 11 Jean-Michel Frodon
2 À bout de souffle: Trials in New Coherences 21 Phillip John Usher
3 “Médicis 15-37”: Bernardo Bertolucci vs. Jean-Luc Godard 44 Fabien S. Gérard
4 Un Femme est infâme: Godard’s Writing Lesson 60 Elizabeth Ezra
5 Michel Legrand Scores Une femme est une femme 71 Kareem Roustom
6 Three-Way Mirroring in Vivre sa vie 89 Maureen Turim
7 Commerce and the War of the Sexes: Laetitia Masson and Jean-Luc Godard 108 Martine Beugnet
8 Les Carabiniers: BB Guns at War and at the Movies 119 Gerald Peary
9 A Postmodern Consideration of Jean-Luc Godard’s Le Mépris 128 Emily Macaux
10 Totally, Tenderly, Tragically . . . and in Color: Another Look at Godard’s Le Mépris 143 Steven Ungar
11 Le Mépris: Landscapes as Tragedy 156 Ludovic Cortade
12 Bande(s) à part: Godard’s Contraband Poetry 171 T. Jefferson Kline
13 Pierrot le fou and a Legacy of Forme 187 Tom Conley
14 Godard’s Wars 197 Philip Watts
15 (Dé)collage: Bazin, Godard, Aragon 210 Douglas Smith
16 The Children of Marx and Esso: Oil Companies and Cinematic Writing in 1960s Godard 224 Thomas Odde
17 One or Two Points About Two or Three Things I Know About Her 243 Jacqueline Levitin
18 Godard’s Remote Control 263 John Hulsey
19 La Chinoise … et après?: Aging Against Tradition 282 Grace An
20 Jean-Luc, Community, and Communication 296 Marc Cerisuelo
21 On and Under Communication 318 Michael Witt
22 Factories and the Factory 351 Amie Siegel
23 Passion’s Ghost 367 Murray Pomerance
24 Schizoanalyzing Souls: Godard, Deleuze, and the Mystical Line of Flight 383 David Sterritt
25 Godard the Hegelian 403 Daniel Fairfax
26 Godard’s Ecotechnics 420 Verena Andermatt Conley
27 Retrospective Godard 430 Elisabeth Hodges
28 “An Accurate Description of What Has Never Occurred”: History, Virtuality, and Fiction in Godard 441 Scott Durham
29 Noli me tangere: Jean-Luc Godard’s Histoire(e)s du cinéma 456 Kriss Ravetto-Biagioli
30 Godard the Historiographer: From Histoires du cinéma to the Beaubourg Exhibition 488 Trond Lundemo
31 The Old Place, Space of Legends 504 Margaret C. Flinn
32 Notre musique: Juste une conversation 514 Erin Schlumpf
33 Jean-Luc Godard: To Liberate Things from the Name that We Have Imposed on Them (Film . . .) to Announce Dissonances Parting from a Note in Common (Socialisme) 527 Irmgard Emmelhainz
Index prepared by Sophia Mizouni : 546
Tom Conley is Abbott Lawrence Lowell Professor of Romance Languages and Visual & Environmental Studies at Harvard University. His publications include Film Hieroglyphs (2006), Cartographic Cinema (2007), An Errant Eye (2011), and others.
T. Jefferson Kline is Professor of French at Boston University. His publications include Bertolucci’s Dream Loom (1987), Screening the Text: Intertextuality and New Wave French Cinema (1992), Unraveling French Cinema (2010), and a variety of essays on French and European literature and film.
“Jean-Luc Godard not only reinvented the cinema; he also challenged film viewers to become engaged cinephiles, whether in terms of politics, theory, gender, or the history of film itself. Godard’s work is and has always been provocative, and that it has remained so since the beginnings of the New Wave attests to the magnitude of the director’s achievement. Tom Conley and T. Jefferson Kline have assembled a remarkable collection, representing a wide range of perspectives on Godard’s achievement. The book is a must-read for anyone who has ever been entranced or frustrated, fascinated or enraged with Godard’s cinematic imagination.”
Judith Mayne, Ohio State University
“In generating this superb and intellectually diverse collection of original essays, the editors have accomplished the crucial work of critics, which is to demonstrate the vast range and immense depth of a great artist’s work.”
Ted Perry, Middlebury College
Poet and Senior Lecturer Tino Villanueva was in Madrid in May for a reading from his most recent book, So Spoke Penélope which has now been published bilingually–Así habló Penélope—at the Universidad de Alcalá de Henares.
The reading, at the Centro de Art Moderno, with an introduction by Rafael Cabañas Alamán, may be seen here. The book was translated by Nuria Brufau Alvira, author, also, of an article in Les Ateliers du SAL which thoughtfully places Villanueva’s book in a long poetic tradition (pdf).
Villanueva is also to be congratulated on an a glowing review of So Spoke Penelope in the prestigious Bryn Mawr Classical Review, by Ramiro González Delgado, who writes of Villanueva’s poetic sequence:
“So Spoke Penelope is not the sort of book BMCR ordinarily reviews, in that it is not an essay, or a new edition or translation of classical texts, nor is it a scientific study. It is, instead, an excellent creative work of literature, one which is undoubtedly destined to become a source of critical analyses and studies regarding the influence of ancient Greek epic poetry on contemporary poetry, in general, and The Odyssey—especially the character of Penelope—in particular” (tr. Lisa Horowitz).
González Delgado places Villanueva’s book—the fruit of more than ten years of patient poetic weaving and unweaving—in the tradition of La tejedora de sueños (1952) by Antonio Buero Vallejo, The Penelopiad (2005) by Margaret Atwood and, more recently Nostalgia of Ulysses by Nuria Barros. He writes: that “twenty-four of these poems have appeared before in various journals and anthologies, starting in 2004, when a preview of the collection came out in Poiesis: A Journal of the Arts and Communication, Vol. 6, specifically, “So Spoke Penelope,” “Prayer to Athena,” “Dream,” “In Color and in Cloth,” and “A Width of Cloth.” Each of these poems is capable of standing on its own, but the real strength of this work lies in reading them all together. By reading the collection as a whole, we are, in effect, re-reading The Odyssey, but this time through the eyes of Penelope, who in the first person, recounts her own odyssey of love, hope and despair.”
As Nigerian poet Ifeanyi Menkiti wrote about the original edition, Villanueva’s incandescent collection, recognizes that “the whole range of human experience is contained in Penelope at Ithaca.”
Of the many interviews Villanueva has given, this one, from two years ago, after a talk at the University of California, Merced, is one of those that deal most directly with his poetics.
The Portuguese Program at Harvard is organizing their “Brazil Week.”
They will bring the poet Chacal, one of the main figures in the marginal poetry phenomenon.
Our own Rodrigo Lopes de Barros will be participating.
There will be a book talk and reception at The French Cultural Center on Thursday, March 6, 2014. More information can be found at this Facebook page: https://www.facebook.com/events/1410520989206000
Poet, translator, and editor, Donald Wellman, will be reading from his translation of Jardín cerrado / Enclosed Garden by Emilio Prados at Schoenhof’s on January 25, 2014 at 3:00pm.
Schoenhof’s Foreign Books
76 A Mount Auburn Street
Cambridge, MA 02138
Telephone: (617) 547-8855
The video recording from Prof. Nikolaev’s presentation on “The Story of Writing” is now available to the BU community (along with other recent linguistics presentations) from this page: http://www.bu.edu/linguistics/UG/lectures.html
“I could have told you the same things that are in the film
by just talking to you for six hours. but instead I found shapes.”
Learn more about Professor Kline’s recent publication.
TINO VILLANUEVA: SO SPOKE PENELOPE
Lecturer Tino Villanueva began the semester with not only with a new language course based on the short story (LS307), but also with a new book of poems, reviewed in the current issue of Bostonia by Susan Seligson:
In her review of So Spoke Penelope, published by Grolier Poetry, Seligson quotes from the introduction by Nigerian poet Ifeanyi Menkiti: Villanueva’s incandescent collection, ‘is a work many years in the making, a work indicative of hard-worn recognition on the poet’s part that the whole range of human experience is contained in Penelope at Ithaca.” These 32 poems, Seligson writes, form an “incanescent” collection: they “spill from one to the next and invite a second or third reading.”