131,798 research outputs found
Authorship in the Interstices of History, Biography, Reality and Memory: Histoire(s) du cinéma and Cabra Marcado para Morrer
No full textEste artigo contrasta Histoire(s) du cinéma de Jean-Luc Godard e Cabra Marcado Para Morrer de Eduardo Coutinho, estão engajadas com a questão da autoria no cinema. Enquanto a imagem de Godard enfatiza a capacidade que tem um filme de transmitir a visão de mundo pessoal de um artista, a presença de Coutinho na tela funciona menos como um meio de subjetivar a obra do que como um catalizador instigando cetas reações nos "atores" filmados
Jean-Luc Godard and the other history of cinema
No full textJean-Luc Godard's Histoire(s) du cinema (1988-1998) is a video work made up of visual and verbal quotations of hundreds of images and sounds from film history. But rather than simply telling (hi)stories of cinema, Godard makes a case for cinema as a tool for performing the work of history. This is partly because the film image, by virtue of always recording more of the real than was anticipated or intended, necessarily has history itself inscribed within its very fabric. It is also because montage, as the art of combining discrete elements in new ways in order to produce original forms, can be seen as a machine for realising historical thought. This thesis examines these ideas by discussing Godard's account of the role of cinema in the Second World War, and by analysing some of his recent work as examples of historical montage which attempt to criticise our current political climate through comparison with earlier eras.
After a first chapter which sets out Godard's argument through an extensive commentary of Histoire(s) 1A and B, a second chapter discusses Godard's depiction of the invention of cinema and traces a complex argument about technology and historical responsibility around the key metaphorical figure of the train. Chapter 3 explores the ways in which Godard's historical approach to cinema allows him to maintain a critical discourse with regard to the geopolitical realities of late twentieth-century Europe (Germany, the Balkans), but also to the communications and business empires that have developed over the past few decades. A final chapter offers a detailed consideration of the nature of Godard's cinematic quotation and seeks to explicate the apocalyptic rhetoric of his late work. Aside from Histoire(s) du cinema, films discussed include Nouvelle Vague (1990), Allemagne neuf zero (1991), For Ever Mozart (1996) and Eloge de l'amour (2001)
From the New Wave to the New Hollywood: The Life Cycles of Important Movie Directors from Godard and Truffaut to Spielberg and Eastwood
No full textTwo great movie directors were both born in 1930. One of them, Jean-Luc Godard, revolutionized filmmaking during his 30s, and declined in creativity thereafter. In contrast, Clint Eastwood did not direct his first movie until he had passed the age of 40, and did not emerge as an important director until after 60. This dramatic difference in life cycles was not accidental, but was a characteristic example of a pattern that has been identified across the arts: Godard was a conceptual innovator who peaked early, whereas Eastwood was an experimental innovator who improved with experience. This paper examines the goals, methods, and creative life cycles of Godard, Eastwood, and eight other directors who were the most important filmmakers of the second half of the twentieth century. Francis Ford Coppola, Stanley Kubrick, Stephen Spielberg, and François Truffaut join Godard in the category of conceptual young geniuses, while Woody Allen, Robert Altman, John Cassavetes, and Martin Scorsese are classed with Eastwood as experimental old masters. In an era in which conceptual innovators have dominated a number of artistic activities, the strong representation of experimental innovators among the greatest film directors is an interesting phenomenon.
Écologie et utilisation du sol dans les hautes terres d'Écosse, Ecology and land use in Upland Scotland, D. N. Mc Vean et J. D. Lockie
No full textGodard Alain. Écologie et utilisation du sol dans les hautes terres d'Écosse, Ecology and land use in Upland Scotland, D. N. Mc Vean et J. D. Lockie. In: Annales de Géographie, t. 80, n°439, 1971. pp. 357-358
Mercier D., Le ruissellement au Spitsberg. Le monde polaire face aux changements climatiques
No full textGodard Alain. Mercier D., Le ruissellement au Spitsberg. Le monde polaire face aux changements climatiques. In: Annales de Géographie, t. 111, n°626, 2002. pp. 439-440
Hautes terres et îles d'Ecosse, d après A. C. O'Dell et K. Walton
No full textGodard Alain. Hautes terres et îles d'Ecosse, d après A. C. O'Dell et K. Walton. In: Annales de Géographie, t. 74, n°405, 1965. pp. 611-613
Mercier D., Le ruissellement au Spitsberg. Le monde polaire face aux changements climatiques
No full textGodard Alain. Mercier D., Le ruissellement au Spitsberg. Le monde polaire face aux changements climatiques. In: Annales de Géographie, t. 111, n°626, 2002. pp. 439-440
Research in the Form of a Spectacle: Godard and the Cinematic Essay
No full textThis dissertation is a study of the aesthetic, political, and ethical dimensions of the essay form as it passes into cinema - particularly the modern cinema in the aftermath of the Second World War - from literary and philosophic sources. Taking Jean-Luc Godard as my main case, but encompassing other important figures as well (including Agnès Varda, Chris Marker, and Guy Debord), I show how the cinematic essay is uniquely equipped to conduct an open-ended investigation into the powers and limits of film and other audio-visual manners of expression. I provide an analysis of the cinematic essay that illuminates its working principles in two crucial respects. First, whereas essay films have typically been described in taxonomic terms - that is, through classification schemes that hinge on reflective voiceover commentary, found footage montage, and hybrid combinations of fiction and documentary - I articulate a more supple and dynamic sense of the essayistic through a detailed reading of Montaigne. As I treat it, the essay form emerges in complex acts of self-portraiture, citation, and a range of stylistic maneuvers that exhibit an impulse toward dialogical exchange. Second, I use Godard's prolific body of work to establish the essay as a fundamentally intergeneric and intermedial phenomenon. Godard figures as a privileged case in my argument because, as I show, he self-consciously draws on essayistic traditions from a broad spectrum of linguistic and pictorial media as he carries out experiments between film, television, and video. Through close engagements with his works, I show that the essayistic, far from being a mere descriptive label, is crucial to our understanding of many of the most intricate features of his practice: how he retools antecedent materials and discourses; how he combines critical and creative faculties; how he confronts his own agency as both an author and spectator; how he perpetually revises his own earlier output; how he inhabits his work and achieves a consubstantial presence with the sights and sounds he handles; how he tests out ideas without offering a direct argument; and how he longingly pursues a dialogue with a co-operative viewer according to conditions of perceptual sharedness
Charaf al-Din. Le premier Manuscrit Chirurgical Turc. Présentation française de P. Huard et M. D. Grmek.
No full textGodard Y.A. Charaf al-Din. Le premier Manuscrit Chirurgical Turc. Présentation française de P. Huard et M. D. Grmek. In: Syria. Tome 38 fascicule 3-4, 1961. pp. 339-340
Charaf al-Din. Le premier Manuscrit Chirurgical Turc. Présentation française de P. Huard et M. D. Grmek.
No full textGodard Y.A. Charaf al-Din. Le premier Manuscrit Chirurgical Turc. Présentation française de P. Huard et M. D. Grmek. In: Syria. Tome 38 fascicule 3-4, 1961. pp. 339-340
- …
