Jean-Luc Godard

Jean-Luc Godard (French: [lyk da]; born 3 De-cember 1930) is a French-Swiss lm director, screen-writer and lm critic. He is often identied with the1960s French lm movement La Nouvelle Vague, or"New Wave".[1]

Like his New Wave contemporaries, Godard criticizedmainstream French cinemas Tradition of Quality,[1]which emphasized craft over innovation, privileged es-tablished directors over new directors, and preferred thegreat works of the past to experimentation.[2] To chal-lenge this tradition, he and like-minded critics started tomake their own lms.[1] Many of Godards lms chal-lenge the conventions of traditional Hollywood in addi-tion to French cinema.[3] He is often considered the mostradical French lmmaker of the 1960s and 1970s;[4] hisapproach in lm conventions, politics and philosophiesmade him arguably the most inuential director of theFrench New Wave. Along with showing knowledge oflm history through homages and references, several ofhis lms expressed his political views; he was an avidreader of existential and Marxist philosophy.[4][5]

Since the New Wave, his politics have been much lessradical and his recent lms are about representationand human conict from a humanist, and a Marxistperspective.[4]

In a 2002 Sight & Sound poll, Godard ranked third in thecritics top-ten directors of all time (which was put to-gether by assembling the directors of the individual lmsfor which the critics voted).[6] He is said to have cre-ated one of the largest bodies of critical analysis of anylmmaker since the mid-twentieth century.[7] He and hiswork have been central to narrative theory and have chal-lenged both commercial narrative cinema norms and lmcriticisms vocabulary.[8] In 2010, Godard was awardedan Academy Honorary Award, but did not attend theaward ceremony.[9] Godards lms have inspired manydirectors including Martin Scorsese, Quentin Tarantino,Steven Soderbergh, D. A. Pennebaker,[10] Robert Alt-man, Jim Jarmusch, Wong Kar-wai, Wim Wenders,[11]Bernardo Bertolucci,[12] and Pier Paolo Pasolini.[12]

1 Early life

Jean-Luc Godard was born on 3 December 1930[13] inthe 7th arrondissement of Paris,[14] the son of Odile(ne Monod) and Paul Godard, a Swiss physician.[15]His wealthy parents came from Protestant families of

FrancoSwiss descent, and his mother was the daugh-ter of Julien Monod, a founder of the Banque Paribas.She was the great-granddaughter of theologian AdolpheMonod. Relatives on his mothers side include also com-poser Jacques-Louis Monod, naturalist Thodore Monodand pastor Frdric Monod.[16][17] Four years after Jean-Lucs birth, his father moved the family to Switzerland.At the outbreak of the Second World War, Godard wasin France and returned to Switzerland with diculty. Hespent most of the war in Switzerland, although his familymade clandestine trips to his grandfathers estate on theFrench side of Lake Geneva. Godard attended school inNyon, Switzerland.[18]

Not a frequent cinema-goer, he attributed his introduc-tion to cinema to a reading of Malrauxs essay Outline ofa Psychology of Cinema, and his reading of La Revue ducinma, which was relaunched in 1946.[19] In 1946, hewent to study at the Lyce Buon in Paris and, throughfamily connections, mixed with members of its culturalelite. He lodged with the writer Jean Schlumberger. Hav-ing failed his baccalaureate exam in 1948 he returnedto Switzerland. He studied in Lausanne and lived withhis parents, whose marriage was breaking up. He spenttime in Geneva also with a group that included anotherlm fanatic, Roland Tolmatcho, and the extreme rightistphilosopher Jean Parvulesco. His older sister Rachel en-couraged him to paint, which he did, in an abstract style.After time spent at a boarding school in Thonon to pre-pare for the retest, which he passed, he returned to Parisin 1949.[20] He registered for a certicate in anthropologyat the University of Paris (Sorbonne), but did not attendclass.[21] He got involved with the young group of lmcritics at the cin-clubs that started the New Wave. Go-dard originally held only French citizenship, then in 1953,he became a citizen of Gland, canton of Vaud, Switzer-land, possibly through simplied naturalisation throughhis Swiss father.

2 Early career (195059)

2.1 Film criticism

In Paris, in the Latin Quarter just prior to 1950, cin-clubs(lm societies) were gaining prominence. Godard beganattending these clubsthe Cinmathque, the CCQL,Work and Culture cin Club, and others, became hisregular haunts. The Cinmathque had been foundedby Henri Langlois and Georges Franju in 1936; Work

1

2 3 CINEMATIC PERIOD (196068)

and Culture was a workers education group for whichAndr Bazin had organized wartime lm screenings anddiscussions and which had become a model for the lmclubs that had risen throughout France after the Liber-ation; Cin-Club du Quartier Latin (CCQL), founded1947-48, was animated and intellectually led by MauriceSchrer.[22] At these clubs he met fellow lm enthusiastsincluding Jacques Rivette, Claude Chabrol, and FranoisTruaut.[23] Godard was part of a generation for whomcinema took on a special importance. He has said: Inthe 1950s cinema was as important as breadbut it isn'tthe case any more. We thought cinema would assert it-self as an instrument of knowledge, a microscope... atelescope.... At the Cinmathque I discovered a worldwhich nobody had spoken to me about. They'd told usabout Goethe, but not Dreyer. ... We watched silent lmsin the era of talkies. We dreamed about lm. We werelike Christians in the catacombs.[24][25]

His foray into lms began in the eld of criticism. Alongwith Maurice Schrer (writing under the to-be-famouspseudonym ric Rohmer) and Rivette, he founded theshort-lived lm journal Gazette du cinma, which sawpublication of ve issues in 1950.[26] When Bazin co-founded the inuential critical magazine Cahiers ducinma in 1951, Godard was the rst of the youngercritics from the CCQL/Cinmathque group to bepublishedthe January 1952 issue featured his review ofan American melodrama directed by Rudolph Mat, NoSad Songs for Me. His Defence and Illustration of Clas-sical Dcoupage published in September 1952, in whichhe attacks an earlier article by Bazin and defends the useof the shot-reverse shot technique, is one of his earli-est important contributions to cinema.[27] Praising OttoPreminger and, the greatest American artistHowardHawks", Godard raises their harsh melodramas above themore formalistic and overtly artful lms of Welles, DeSica and Wyler which Bazin endorsed""[28] At this pointGodards activities did not include making lmsratherhe watched lms, and wrote about them, and helped oth-ers make lms, notably Rohmer, with whom he workedon w:fr:Prsentation ou Charlotte et son steak.[29]

2.2 Filmmaking

Having left Paris in the autumn of 1952, Godard returnedto Switzerland and went to live with his mother in Lau-sanne. He became friendly with his mothers lover, Jean-Pierre Laubscher, who was a labourer on the Grande Dix-ence Dam. Through Laubscher he secured work himselfas a construction worker at the Plaz Fleuri work site atthe dam. He saw the possibility of making a documentarylm about the dam and when his initial contract ended, inorder to prolong his time at the dam, moved to the postof telephone switchboard operator. It was whilst on duty,in April 1954, that he put through a call to Laubscherthat relayed the fact that Odile Monod, his mother, haddied in a scooter accident. Thanks to Swiss friends who

lent him a 35mm movie camera, he was able to shoot on35mm lm. He rewrote the commentary that Laubscherhad written, and gave his lm a rhyming title Oprationbton (Operation concrete). The company that adminis-tered the dam bought the lm and used it for publicitypurposes.[30]

As he continued to work for Cahiers, he madeUne femmecoquette (1955), in Geneva, a ten-minute short; and inJanuary 1956 he returned to Paris. A plan for a featurelm of Goethe's Elective Anities proved too ambitiousand came to nothing. Truaut enlisted his help to workon an idea he had for a lm based on the true-crime storyof a petty criminal, Michel Portail, who had shot a mo-torcycle policeman and whose girlfriend had turned himin to the police. But Truaut failed to interest any pro-ducers. Another project with Truaut, a comedy about acountry girl arriving in Paris, was also abandoned.[31] Heworked with Rohmer on a planned series of short lmscentering around the lives of two youngwomen, Charlotteand Vronique; and in the autumn of 1957, Pierre Braun-berger produced the rst lm in the series, All the BoysAre Named Patrick, directed by Godard from Rohmersscript. Une histoire d'eau (1958) was created largely outof unused footage shot by Truaut. In 1958, Godard,with a cast that included Jean-Paul Belmondo and AnneColette, made his last short before gaining internationalprominence as a lmmaker, Charlotte et son Jules, anhomage to Jean Cocteau. The lm was shot in Godardshotel room on the rue de Rennes and apparently reectedsomething of the 'romantic austerity' of Godards ownlife at this time. His Swiss friend Roland Tolmatchonoted; In Paris he had a big Bogart poster on the walland nothing else. [32] In December 1958, Godard re-ported from the Festival of Short Films in Tours andpraised the work of, and became friends with, JacquesDemy, Jacques Rozier, and Agns Vardahe alreadyknew Alain Resnais whose entry he also praisedbutGodard now wanted to make a feature lm. He travelledto the 1959 Cannes Film Festival and asked Truaut to lethim use the story on which they had collaborated in 1956,about the car thief Michel Portail. He sought money fromthe producer Georges de Beauregard whom he had metpreviously whilst working briey in the publicity depart-ment of Twentieth Century Foxs Paris oce, and whowas also at the Festival. Beauregard could oer his ex-pertise, but was in debt from two productions based onPierre Loti stories and so nance came rather from a lmdistributor, Ren Pignires.[33]

3 Cinematic period (196068)Godards most celebrated period as a director spansroughly from his rst feature, Breathless (1960), throughtoWeek End (1967). His work during this period focusedon relatively conventional lms that often refer to dif-ferent aspects of lm history. Although Godards work

3.1 Films 3

during this time is considered groundbreaking in its ownright, the period stands in contrast to that which imme-diately followed it, during which Godard ideologicallydenounced much of cinemas history as bourgeois andtherefore without merit.

3.1 Films

Godards Breathless ( bout de soue, 1960), star-ring Jean-Paul Belmondo and Jean Seberg distinctlyexpressed the French New Wave's style, and incor-porated quotations from several elements of popularculturespecically American lm noir.[34] The lm em-ployed various innovative techniques such as jump cutstraditionally considered amateurish [35]character asidesand breaking the eyeline match rule in continuity editing.Truaut co-wrote Breathless with Godard.Godard viewed lm-making as an extension of criticismand was more interested in redening lm structure andstyle than actually being understood by the public. Oftenhis movies were more about the presentation of a storythan anything else. The stories in his lms were very sim-ple yet unfocused and constantly digressing from themainstory line (Jean-Luc Godard and Vivre Sa Vie by TomMilne, 1962).From the beginning of his career, Godard included morelm references into his movies than did any of his NewWave colleagues. In Breathless, his citations includea movie poster showing Humphrey Bogart, -from TheHarder They Fall, his last lm-,[36] (whose expression thelead actor Jean-Paul Belmondo tries reverently to imi-tate); visual quotations from lms of Ingmar Bergman,Samuel Fuller, Fritz Lang, and others; and an onscreendedication to Monogram Pictures,[37] an American B-movie studio. Quotations from, and references to liter-ature include William Faulkner, Dylan Thomas, LouisAragon, Rilke, Franoise Sagan,Maurice Sachs. The lmalso contains citations in images or on the soundtrackMozart, Picasso, J.S. Bach, Paul Klee, and AugusteRenoir. This rst-person cinema invoked not the di-rectors experience but his presence.[38] If, in Rohmerswords, life was the cinema, then a lm lled with moviereferences was supremely autobiographical.Godard wanted to hire the American actress Jean Se-berg, who was living in Paris with her husband FranoisMoreuil, an attorney, to play the American woman. Se-berg had become famous in 1956 when Otto Premingerhad chosen her to play Joan of Arc in his Saint Joan,and had then cast her in his acidulous 1958 adaptationof Bonjour Tristesse.[40] Her performance in this lmhad not been generally regarded as a successthe NewYork Times critic called her a misplaced amateurbutTruaut and Godard disagreed. In the role of MichelPoiccard, Godard cast Belmondo, an actor he had al-ready called, writing in Arts in 1958, the Michel Si-mon and the Jules Berry of tomorrow.[41] The cam-

Robert Bresson (above). Godard told a journalist, I really madeit [Le Petit Soldat] under the inuence of Bresson and of Mal-raux. Bressons 1959 lm Pickpocket was a model for Godardand had an eect on Godards work that was profound andenduring.[39]

eraman was Raoul Coutard, the producer Beauregardschoice. Godard wanted Breathless to be shot like a docu-mentary, with a lightweight handheld camera and a min-imum of added lighting and Coutard had had experi-ence as a documentary cameraman while working for theFrench armys information service in Indochina duringthe French-Indochina War. Tracking shots were lmedbyCoutard from awheelchair pushed byGodard. Thoughhe had prepared a traditional screenplay, he dispensedwith it and Godard wrote the dialogue day by day asthe production went ahead.[42] The lms importance wasrecognized immediately and in January 1960, Godardwon the Jean Vigo Prize, awarded " to encourage anauteur of the future. One reviewer mentioned AlexandreAstruc's prophecy of the age of the camra-stylo, thecamera that a new generation would use with the ecacywith which a writer uses his pen"here is in fact the rstwork authentically written with a camra-stylo".[43]

The following year Godard made Le Petit Soldat (The Lit-tle Soldier), lmed on location in Geneva,[44] and dealingwith the Algerian War of Independence. The lm be-gins on 13 May 1958, the date of the attempted putschin Algeria, and ends later the same month. In the lm,Bruno Forestier a photojournalist who has links with aright wing paramilitary group working for the Frenchgovernment, is ordered to murder a professor accused ofaiding the Algerian resistance. He is in love with Veron-ica Dreyer, a young woman who has worked with the Al-

4 3 CINEMATIC PERIOD (196068)

Anna Karinahaving rejected a role in Breathless she ap-peared in Godards next lm Le Petit Soldat"it will be some-thing about torture Godard told France-Observateurand con-cerned Frances war in Algeria

gerian ghters. He is captured by Algerian militants andtortured. His organisation captures and tortures her. The'little soldier' was played by Michel Subor and VeronicaDreyer by Anna Karinathe rst collaboration betweenGodard and the Danish-bornof Russian extractionactress. Unlike Seberg, Karina had virtually no experi-ence as an actress and Godard used her awkwardness asan element of her performance. He wrote the dialogueevery day and, since it was lmed without direct soundand was dubbed, called dialogue to the actors. Forestierwas a character close to Godard himself, an image-makerand intellectual, 'more or less my spokesman, but not to-tally' Godard told an interviewer.[45] The lm, due to itspolitical nature, implied that France was involved in adirty war, engaging in torture, and was banned by theFrench government until January 1963. Godard and Ka-rina were a couple by the end of the shoot. She appearedagain, along with Belmondo, in Godards rst color lm,A Woman Is a Woman (1961), which was intended as ahomage to the American musical. Adjustments that Go-dard made to the original version of the story gave it au-tobiographical resonances, 'specically in regard to hisrelationship with Anna Karina'. The lm revealed 'theconnement within the four walls of domestic life', and'the emotional and artistic fault lines that threatened theirrelationship'.[46]

Godards next lm, Vivre sa vie (My Life to Live) (1962),was one of his most popular among critics. Karina starredas Nana, an errant mother and aspiring actress whose -nancially strained circumstances lead her to the life of astreetwalker. It is an episodic account of her rationaliza-tions to prove she is free, even though she is tethered atthe end of her pimps short leash. In one touching scenein a cafe, she spreads her arms out and announces she isfree to raise or lower them as she wishes.Les Carabiniers (1963) was about the horror of war andits inherent injustice. It was the inuence and sugges-tion of Roberto Rossellini that led Godard to make thislm which follows two peasants who join the army of a

king, only to nd futility in the whole thing as the kingreveals the deception of war-administrating leaders. Hismost commercially successful lm was Le Mpris (Con-tempt) (1963), starringMichel Piccoli and one of Francesbiggest female stars, Brigitte Bardot. A coproduction be-tween Italy and France, Contempt became known as a pin-nacle in cinematic modernism with its profound reexiv-ity. The lm follows Paul (Piccoli), a screenwriter who iscommissioned by the arrogant American movie producerProkosch (Jack Palance) to rewrite the script for an adap-tation of Homer's Odyssey, which the Austrian directorFritz Lang has been lming. Langs 'high culture' inter-pretation of the story is lost on Prokosch, whose characteris a rm indictment of the commercial motion picture hi-erarchy. Another prominent theme is the inability to rec-oncile love and labor, which is illustrated by Pauls crum-bling marriage to Camille (Bardot) during the course ofshooting.In 1964, Godard and Karina formed a production com-pany, Anouchka Films. He directed Bande part (Bandof Outsiders), another collaboration between the two anddescribed by Godard as "Alice in Wonderland meetsFranz Kafka. It follows two young men, looking to scoreon a heist, who both fall in love with Karina, and quotesfrom several gangster lm conventions.Une femme marie (A Married Woman) (1964) followedBand of Outsiders. It was a slow, deliberate, toned-downblack-and-white picture without a real story. The lmwas shot in four weeks[47] and was an explicitly and strin-gently modernist lm. It showed Godards engagementwith the most advanced thinking of the day, as expressedin the work of Claude Lvi-Strauss and Roland Barthes"and its fragmentation and abstraction reected also hisloss of faith in the familiar Hollywood styles. [48] Go-dard made the lm while he acquired funding for Pierrotle fou (1965).In 1965, Godard directed Alphaville, a futuristic blend ofscience ction, lm noir, and satire. Eddie Constantinestarred as Lemmy Caution, a detective who is sent intoa city controlled by a giant computer named Alpha 60.His mission is to make contact with Professor von Braun(Howard Vernon), a famous scientist who has fallen mys-teriously silent, and is believed to be suppressed by thecomputer. Pierrot le fou (1965) featured a complex story-line, distinctive personalities, and a violent ending. GillesJacob, an author, critic, and president of the Cannes FilmFestival, called it both a retrospective and recapitula-tion in the way it played on so many of Godards earliercharacters and themes. With an extensive cast and varietyof locations, the lmwas expensive enough to warrant sig-nicant problems with funding. Shot in color, it departedfrom Godards minimalist works (typied by Breathless,Vivre sa vie, and Une femme marie). He solicited theparticipation of Jean-Paul Belmondo, by then a famousactor, in order to guarantee the necessary amount of cap-ital.

3.2 Politics 5

Masculin, fminin (1966), based on two Guy de Mau-passant stories, La Femme de Paul and Le Signe, was astudy of contemporary French youth and their involve-ment with cultural politics. An intertitle refers to thecharacters as The children of Marx and Coca-Cola. Al-though Godards cinema is sometimes thought to depicta wholly masculine point of view, Phillip John Usher hasdemonstrated how the lm, by the way it connects imagesand disparate events, seems to blur gender lines.[49]

Godard followed with Made in U.S.A (1966), whosesource material was Richard Stark's The Jugger; and Twoor Three Things I Know About Her (1967), in whichMarina Vlady portrays a woman leading a double life ashousewife and prostitute. A Classic New Wave crimethiller, Made in the U.S.A is inspired by American Noirlms. AnnaKarina stars as the anti-hero searching for hermurdered lover; the lm includes a cameo by MarianneFaithfull.La Chinoise (1967) saw Godard at his most politicallyforthright so far. The lm focused on a group of studentsand engaged with the ideas coming out of the student ac-tivist groups in contemporary France. Released just be-fore the May 1968 events, the lm is thought by some toforeshadow the student rebellions that took place.That same year, Godard made a more colorful and polit-ical lm, Week End. It follows a Parisian couple as theyleave on a weekend trip across the French countrysideto collect an inheritance. What ensues is a confronta-tion with the tragic aws of the over-consuming bour-geoisie. The lm contains some of themost written-aboutscenes in cinemas history. One of them, an eight-minutetracking shot of the couple stuck in an unremitting tracjam as they leave the city, is cited as a new technique Go-dard used to deconstruct bourgeois trends.[50] Startlingly,a few shots contain extra footage from, as it were, beforethe beginning of the take (while the actors are preparing)and after the end of the take (while the actors are comingout of character). Week End's enigmatic and audaciousend title sequence, which reads End of Cinema, appro-priately marked an end to the narrative and cinematic pe-riod in Godards lmmaking career.

3.2 Politics

Politics are never far from the surface in Godards lms.One of his earliest features, Le Petit Soldat, dealt with theAlgerianWar of Independence, and was notable for its at-tempt to present the complexity of the dispute rather thanpursue any specic ideological agenda. Along these lines,Les Carabiniers presents a ctional war that is initially ro-manticized in the way its characters approach their ser-vice, but becomes a sti anti-war metonym. In additionto the international conicts Godard sought an artistic re-sponse to, he was also very concerned with the socialproblems in France. The earliest and best example ofthis is Karinas potent portrayal of a prostitute in Vivre sa

vie.In 1960s Paris, the political milieu was not overwhelmedby one specic movement. There was, however, a distinctpost-war climate shaped by various international conictssuch as the colonialism in North Africa and SoutheastAsia. The side that opposed such colonization includedthe majority of French workers, who belonged to theFrench communist party, and the Parisian artists andwrit-ers who positioned themselves on the side of social reformand class equality. A large portion of this group had a par-ticular anity for the teachings of Karl Marx. GodardsMarxist disposition did not become abundantly explicituntil La Chinoise andWeek End, but is evident in severallmsnamely Pierrot and Une femme marie.Godard has been accused by some of harboring anti-Semitic views: in 2010, in the lead-up to the presenta-tion of Godards honorary Oscar, a prominent article inthe New York Times by Michael Cieply drew attention tothe idea, which had been circulating through press in pre-vious weeks, that Godard might be an anti-Semite, andthus undeserving of the accolade. Cieply makes refer-ence to Richard Brody's book, Everything is Cinema:The Working Life of Jean-Luc Godard, and alluded toa previous, longer article published by the Jewish Jour-nal as lying near the origin of the debate.[51] The articlealso draws upon Brodys book, for example in the follow-ing quotation, which Godard made on television in 1981:Moses is my principal enemy...Moses, when he receivedthe commandments, he saw images and translated them.Then he brought the texts, he didn't show what he hadseen. Thats why the Jewish people are accursed.[52]Immediately after Cieplys article was published, Brodymade a clear point of criticizing the extremely selec-tive and narrow use of passages in his book, and notedthat Godards work has approached the Holocaust withthe greatest moral seriousness.[53] Indeed, his docu-mentaries feature images from the Holocaust in a contextsuggesting he considers Nazism and the Holocaust as thenadir of human history. Godards views become morecomplex regarding the State of Israel. In 1970, Godardtraveled to theMiddle East to make a pro-Palestinian lmhe didn't complete and whose footage eventually becamepart of the 1976 lm Ici et ailleurs. In this lm, Godardseems to view the Palestinian cause as one ofmany world-wide Leftist revolutionary movements. Elsewhere, Go-dard has explicitly identied himself as an anti-Zionistbut has denied the accusations of anti-Semitism.[54]

3.2.1 Vietnam War

Godard produced several pieces that directly address theVietnam War. Furthermore, there are two scenes inPierrot le fou that tackle the issue. The rst is a scenethat takes place in the initial car ride between Ferdinand(Belmondo) and Marianne (Karina). Over the car radio,the two hear the message garrison massacred by the VietCong who lost 115 men. Marianne responds with an

6 4 REVOLUTIONARY PERIOD (196879)

extended musing on the way the radio dehumanizes theNorthern Vietnamese combatants.In the same lm, the lovers accost a group of Amer-ican sailors along the course of their liberating crimespree. Their immediate reaction, expressed by Marianne,is Damn Americans!", an obvious outlet of the frustra-tion so many French communists felt towards Americanhegemony. Ferdinand then reconsiders, Thats OK, wellchange our politics. We can put on a play. Maybe theyllgive us some dollars. Marianne is puzzled, but Ferdi-nand suggests that something the Americans would likewould be the Vietnam War. The ensuing sequence is amakeshift play where Marianne dresses up as a stereotyp-ical Vietnamese woman and Ferdinand as an Americansailor. The scene ends on a brief shot revealing a chalkmessage left on the oor by the pair, Long live Mao!"(Vive Mao!).Notably, he also participated in Loin du Vietnam (1967).An anti-war project, it consists of seven sketches di-rected by Godard (who used stock footage from La Chi-noise), Claude Lelouch, Joris Ivens, William Klein, ChrisMarker, Alain Resnais and Agns Varda.

3.3 Bertolt Brecht

Godards engagement with German poet and playwrightBertolt Brecht stems primarily from his attempt to trans-pose Brechts theory of epic theatre and its prospect ofalienating the viewer (Verfremdungseekt) through a rad-ical separation of the elements of the medium (in Brechtscase theater, but in Godards, lm). Brechts inuence iskeenly felt through much of Godards work, particularlybefore 1980, whenGodard used lmic expression for spe-cic political ends.For example, Breathless' elliptical editing, which deniesthe viewer a uid narrative typical of mainstream cinema,forces the viewers to take on more critical roles, connect-ing the pieces themselves and coming away with moreinvestment in the works content. Godard also employsother devices, including asynchronous sound and alarm-ing title frames, with perhaps his favorite being the char-acter aside. In many of his most political pieces, specif-ically Week End, Pierrot le fou, and La Chinoise, char-acters address the audience with thoughts, feelings, andinstructions.

3.4 Marxism

See also: Karl Marx in lm

A Marxist reading is possible with most if not all ofGodards early work. Godards direct interaction withMarxism does not become explicitly apparent, however,until Week End, where the name Karl Marx is cited inconjunction with gures such as Jesus Christ. A constant

refrain throughout Godards cinematic period is that ofthe bourgeoisies consumerism, the commodication ofdaily life and activity, and mans alienationall centralfeatures of Marxs critique of capitalism.In an essay on Godard, philosopher and aesthetics scholarJacques Rancire states, When in Pierrot le fou, 1965, alm without a clear political message, Belmondo playedon the word 'scandal' and the 'freedom' that the Scandalgirdle supposedly oered women, the context of a Marx-ist critique of commodication, of pop art derision atconsumerism, and of a feminist denunciation of womensfalse 'liberation', was enough to foster a dialectical read-ing of the joke and the whole story. The way Godardtreated politics in his cinematic period was in the contextof a joke, a piece of art, or a relationship, presented tobe used as tools of reference, romanticizing the Marxistrhetoric, rather than being solely tools of education.Une femme marie is also structured around Marxs con-cept of commodity fetishism. Godard once said that itis a lm in which individuals are considered as things,in which chases in a taxi alternate with ethological inter-views, in which the spectacle of life is intermingled withits analysis. He was very conscious of the way he wishedto portray the human being. His eorts are overtly char-acteristic of Marx, who in his Economic and Philosoph-ical Manuscripts of 1844 gives one of his most nuancedelaborations, analyzing how the worker is alienated fromhis product, the object of his productive activity. GeorgesSadoul, in his short rumination on the lm, describes itas a sociological study of the alienation of the modernwoman.

4 Revolutionary period (196879)The period that spans from May 1968 indistinctly intothe 1970s has been subject to an even larger volume ofvarying labeling. They include everything from his mil-itant period, to his radical period, along with terms asspecic as "Maoist" and vague as political. The periodsaw Godard align himself with a specic revolution andemploy a consistent revolutionary rhetoric.

4.1 FilmsAmid the upheavals of the late 1960s, Godard be-came interested in Maoist ideology. He formed thesocialist-idealist Dziga-Vertov cinema group with Jean-Pierre Gorin and produced a number of shorts outlininghis politics. In that period he travelled extensively andshot a number of lms, most of which remained unn-ished or were refused showings. His lms became in-tensely politicized and experimental, a phase that lasteduntil 1980.In 1978 Godard was commissioned by the Mozambicangovernment to make a short lm. During this time his

7experience with Kodak lm led him to criticize the stocklm as inherently racist since it did not reect the va-riety, nuance or complexity in dark brown or dark skin.This was because Kodak Shirley cards were only madefor Caucasian subjects, a problem that was not rectieduntil 1995.[55]

According to Elliott Gould, he and Godard met to discussthe possibility of Godards directing Jules Feier's 1971surrealist play Little Murders. During this meeting, Go-dard said his two favorite American writers were Feierand Charles M. Schulz. Godard soon declined the oppor-tunity to direct; the job later went to Alan Arkin.

4.2 Jean-Pierre GorinAfter the events of May 1968, when the city of Parissaw total upheaval in response to the authoritarian deGaulle", and Godards professional objective was recon-sidered, he began to collaborate with like-minded indi-viduals in the lmmaking arena. The most notable ofthese collaborations was with a young Maoist student,Jean-Pierre Gorin, who displayed a passion for cinemathat grabbed Godards attention.Between 1968 and 1973, Godard and Gorin collaboratedto make a total of ve lms with strong Maoist messages.The most prominent lm from the collaboration was Toutva bien, which starred Jane Fonda and Yves Montand, atthe time very big stars. Jean-Pierre Gorin now teaches thestudy of lm at the University of California, San Diego.

4.3 The Dziga Vertov groupThe small group of Maoists that Godard had brought to-gether, which included Gorin, adopted the name DzigaVertov Group. Godard had a specic interest in Vertov, aSoviet lmmakerwhose adopted name is derived fromthe verb to spin or rotate[56] and is best remembered forMan with the Movie Camera (1929) and a contemporaryof both the great Soviet montage theorists, most notablySergei Eisenstein, and Russian constructivist and avant-garde artists such as Alexander Rodchenko and VladimirTatlin. Part of Godards political shift after May 1968was toward a proactive participation in the class struggle.

4.4 SonimageIn 1972, Godard and Swiss lmmaker Anne-MarieMiville started the alternative video production and dis-tribution company Sonimage, based in Grenoble.[57] Un-der Sonimage, Godard produced both Numro Deux(1975) and Sauve qui peut (la vie)" (1980). In 1976,Godard and Miville, his wife,[58] collaborated on a se-ries of innovative video works for European broadcasttelevision called "Six fois deux/Sur et sous la communi-cation" (1976)[59] and France/tour/dtour/deux/enfants

(1978).

5 1980presentGodards return to somewhat more traditional ction wasmarked with Sauve qui peut (la vie) (1980), the rst ofa series of more mainstream lms marked by autobio-graphical currents: for example Passion (1982), Lettre Freddy Buache (1982), Prnom Carmen (1984), andGrandeur et dcadence d'un petit commerce de cinma(1986). There was, though, another urry of controversywith Je vous salue, Marie (1985), which was condemnedby the Catholic Church for alleged heresy, and also withKing Lear (1987), an extraordinary but much-excoriatedessay on William Shakespeare and language. Also com-pleted in 1987 was a segment in the lm ARIA whichwas based loosely from the plot of Armide; it is set in agym and uses several arias by Jean-Baptiste Lully fromhis famous Armide.His later lms have been marked by great formal beautyand frequently a sense of requiemNouvelle Vague (NewWave, 1990), the autobiographical JLG/JLG, autoportraitde dcembre (JLG/JLG: Self-Portrait in December, 1995),and For Ever Mozart (1996). Allemagne anne 90 neufzro (Germany Year 90 Nine Zero, 1991) was a quasi-sequel to Alphaville but done with an elegiac tone and fo-cus on the inevitable decay of age. Between 1988 and1998 he produced perhaps the most important work ofhis career in the multi-part series Histoire(s) du cinma, amonumental project which combined all the innovationsof his video work with a passionate engagement in the is-sues of twentieth-century history and the history of lmitself.In 2001, In Praise of Love (loge de l'amour) was re-leased. The lm is notable for its use of both lm andvideothe rst half captured in 35-mm black and white,the latter half shot in color on DVand subsequentlytransferred to lm for editing. The blending of lm andvideo recalls the statement from Sauve Qui Peut, in whichthe tension between lm and video evokes the strugglebetween Cain and Abel. The lm is also noted for con-taining themes of aging, love, separation, and rediscoveryas it follows the young artist Edgar in his contemplationof a new work on the four stages of love.In Notre musique (2004), Godard turned his focus to war,specically, the war in Sarajevo, but with attention to allwar, including the American Civil War, the war betweenthe US and Native Americans, and the IsraeliPalestinianconict. The lm is structured into three Dantean king-doms: Hell, Purgatory and Paradise. Godards fascina-tion with paradox is a constant in the lm. It opens with along, ponderous montage of war images that occasionallylapses into the comic; Paradise is shown as a lush woodedbeach patrolled by US Marines.Godards lm, Film Socialisme, premiered in the Un

8 7 COLLABORATION WITH ECM RECORDS

Certain Regard section at the 2010 Cannes Film Festi-val.[60][61] It was released theatrically in France in May2010.Godard was rumored to be considering directing a lmadaptation of Daniel Mendelsohn's The Lost: A Searchfor Six of Six Million, an award-winning book about theHolocaust.[62] In 2013, Godard released the short Les troisdsastres (The Three Disasters) as part of the omnibuslm 3X3D with lmmakers Peter Greenaway and EdgarPera.[63] 3X3D premiered at the 2013 Cannes Film Fes-tival.[64]

His 2014 lm Goodbye to Language, shot in 3-D,[65][66]revolves around a couple who cannot communicate witheach other until their pet dog acts as an interpreter forthem. The lm was selected to compete for the Palmed'Or in the main competition section at the 2014 CannesFilm Festival, where it won the Jury Prize.[67]

In 2015 J. Hoberman reported that Godard is working ona new lm.[68]

6 FilmographyMain article: Jean-Luc Godard lmography

Feature Films

1960 Breathless 1960 Le Petit soldat 1961 A Woman Is a Woman 1962 My Life to Live 1963 Les Carabiniers 1963 Contempt 1964 Band of Outsiders 1964 A Married Woman 1964 Alphaville 1965 Pierrot le fou 1966 Masculin Fminin 1966 Made in U.S.A. 1967 Two or Three Things I Know About Her 1967 La Chinoise 1967Week End 1968 Le Gai savoir 1968 A Film Like the Others 1968 One Plus One

1969 British Sounds 1969Wind from the East 1969 Struggles in Italy 1971 Vladimir et Rosa 1972 Tout va bien 1974 Here and Elsewhere 1975 Number Two 1976 Hows It Going? 1980 Every Man for Himself 1982 Passion 1983 First Name: Carmen 1985 Hail Mary 1985 Dtective 1987 King Lear 1987 Keep Your Right Up 1990 New Wave 1991 Germany Year 90 Nine Zero 1993 The Kids Play Russian 1993 Oh Woe Is Me 1994 JLG/JLG Self-Portrait in December 1996 For Ever Mozart 2001 In Praise of Love 2004 Notre musique 2010 Film Socialisme 2014 Goodbye to Language

7 Collaboration with ECMRecords

Godard shares a friendship with Manfred Eicher, founderand head of the innovative German music label ECMRecords.[69] The label has released the soundtracksof Nouvelle Vague (ECM NewSeries 1600-01) andHistoire(s) du cinma (ECMNewSeries 1706) byGodard.This collaboration expanded over the years and led onthe one hand into the contribution of several stills fromGodards movies for album covers.[70] On the other handEicher took over the musical direction of many of Go-dards lms like Allemagne 90 neuf zro, Hlas Pour Moi,JLG or For Ever Mozart. Additionally Godard has re-leased a collection of short lms on the label with Anne-Marie Miville called Four Short Films (ECM 5001).[71]

Album covers with Godards contribution include:[72]

9 Voci, works of Luciano Berio played by KimKashkashian (ECM 1735)

Words of The Angel, by Trio Mediaeval (ECM1753)

Morimur, by Christoph Poppen & The Hilliard En-semble (ECM 1765)

Songs of Debussy and Mozart, by Juliane Banse &Andrs Schi (ECM 1772)

Requiem for Larissa, by Valentin Silvestrov (ECM1778)

Soul of Things, by Tomasz Stanko Quartet (ECM1788)

Suspended Night, by Tomasz Stanko Quartet (ECM1868)

Asturiana: Songs from Spain and Argentina, by KimKashkashian & Robert Levin (ECM 1975)

Distances, by Norma Winstone, Glauco Venier &Klaus Gesing (ECM 2028)

Live at Birdland, by Lee Konitz, Brad Mehldau,Charlie Haden & Paul Motian (ECM 2162)

8 See also Jean-Luc Godard lmography Jean-Luc Godard bibliography

9 References[1] Grant 2007, Vol. 4, p. 235.

[2] Grant 2007, Vol. 2, p. 259.

[3] Jean-Luc Godard. New Wave Film. Retrieved 24 May2013.

[4] Grant 2007, Vol. 4, p. 126.

[5] David Sterritt. 40 Years Ago, 'Breathless Was Hyperac-tive Anarchy. Now Its Part of the Canon. Retrieved 24May 2013.

[6] BFI Sight & Sound Top Ten Poll 2002 Poll TheCritics Top Ten Directors. Archived from the originalon 23 June 2011.

[7] Grant 2007, Vol. 4, p. 238.

[8] Grant 2007, Vol. 4, p. 202.

[9] Freeman, Nate. Godard Companion: Director Will NotTravel to Oscars for a Bit of Metal | The New York Ob-server. Observer.com. Retrieved 6 February 2012.

[10] 1 PM. Pennebaker Hegedus Films. Retrieved 5 January2012.

[11] BFI (4 September 2006). Jean-Luc Godard: Biogra-phy. BFI. Archived from the original on 5 June 2011.Retrieved 28 September 2011. He made an enormousimpact on the future direction of cinema, inuencing lm-makers as diverse as Robert Altman, Martin Scorsese, JimJarmusch, Wim Wenders, Steven Soderbergh, QuentinTarantino and Wong Kar-Wai.

[12] Grant 2007, Vol. 3, p. 49.

[13] Moullet, Luc (2005). Jean-Luc Godard. In Jim Hillier.Cahiers du cinma: 19601968. NewWave, New Cinema,Re-evaluating Hollywood 2. Milton Park, Oxford, UK:Routledge. pp. 3548. ISBN 0-415-15106-6. Retrieved28 September 2011.

[14] Richard Brody, Everything is Cinema, p. 4

[15] Morrey 2005, p. 1.

[16] The religion of director Jean-Luc Godard. Adher-ents.com. Retrieved 29 December 2011.

[17] Jean Monod (17651836), pasteur. Ordiecole.com.Retrieved 29 December 2011.

[18] Jean-Luc Godard. AllMovie. Retrieved 28 June 2014.

[19] Richard Brody, Everything is Cinema, p6

[20] Richard Brody, p. 7

[21] MacCabe 2005, p. 36.

[22] Richard Brody, pp. 817

[23] Jean-Luc Godard Biography: The Black Sheep. NewWave Film. Retrieved 24 May 2013.

[24] Godard Biography. Monsters and Critics. Retrieved 24May 2013.

[25] 'Le cinema n'a pas su remplir son role' Jean-PierreLavoignat and Christophe d'Yvoire, Studio , number 96,155-158

[26] Jean-Luc Godard Biography: What is Cinema?". NewWave Film. Retrieved 24 May 2013.

[27] Jean-Luc Godard Biography: Cahiers du Cinema. NewWave Film. Retrieved 24 May 2013.

[28] Brody, pp. 2930.

[29] Brody, pp. 2627.

[30] Richard Brody, pp. 3134.

[31] Brody, pp. 3942.

[32] Brody, p. 45.

[33] Brody, pp. 47, 50.

[34] Brody, p. 59.

[35] Brody, p. 69.

10 10 FURTHER READING

[36] Brody, p. 70.

[37] MoMA.

[38] Brody, p. 71.

[39] Brody, p. 97.

[40] Brody, p. 54.

[41] Godard on Godard, p. 150.

[42] Brody, p. 60.

[43] Brody, pp. 7273.

[44] Brody, p. 89.

[45] Brody, p. 92.

[46] Brody, p. 110.

[47] Luc Moullet, Masters of Cinema #4, booklet p. 10.

[48] Brody, pp. 190191.

[49] Usher, Phillip John. (2009). De sexe incertain: Mas-culin, Fminin de Godard. French Forum, vol. 34, no.2, pp. 97112.

[50] Morrey, Douglas (2005). Jean-Luc Godard.

[51] Michael Cieply (1 November 2010). An Honorary OscarRevives a Controversy. New York Times. Retrieved 27January 2011.

[52] TOM TUGEND (6 October 2010). Is Jean-Luc Godardan anti-Semite?". The Jewish Journal. Retrieved 9 May2012.

[53] Richard Brody (2 November 2010). Jean-Luc Godard:The Oscar Question. The Front Row. Retrieved 27 Jan-uary 2011.

[54] Kyle Buchanan (15 November 2010). Jean-Luc GodardSays Honorary Oscar Meant Nothing to Him. Vulture.Retrieved 9 May 2012.

[55] National Public Radio. Light And Dark: The Racial Bi-ases That Remain In Photography (April 16, 2014)

[56] Kino-eye: the writings of Dziga Vertov. Google Books.Retrieved 6 March 2010.

[57] Jean-Luc Godard. Electronic Arts Intermix. Retrieved11 April 2012.

[58] Anne-Marie Mieville. Internet Movie Data Base. Re-trieved 11 April 2012.

[59] Six Fois Deux / Sur et Sous LaCommunication [TVDoc-umentary Series]". Fandango. Retrieved 11 April 2012.

[60] New Godard: Socialisme"". Justpressplay.net. 8 May2009. Retrieved 6 March 2010.

[61] Leer, Rebecca (15 April 2010). Hollywood Reporter:Cannes Lineup. Hollywood Reporter. Retrieved 16 April2010.

[62] Zeitchik, Steven (3 June 2009). Holocaust Tale PiquesAuteur. The Hollywood Reporter.

[63] 3X3D, a 3D Stereoscopic Feature from Jean-Luc Go-dard, Peter Greenaway, and Edgar Pera. StereoscopyNews. 9 February 2013. Retrieved 9 February 2013.

[64] 3x3D: Cannes Review. The Hollywood reporter. 30May 2013. Retrieved 4 July 2013.

[65] craig keller. (13 September 2011). Cinemasparagus:ADIEU AU LANGAGE / Jean-Luc Godard / 5x 45-Minute Interview This Week. Cinemaspara-gus.blogspot.com. Retrieved 29 December 2011.

[66] Daily Brieng. JLG, Benning/Cassavetes, Jia + Zhao onNotebook. MUBI. 13 September 2011. Retrieved 29December 2011.

[67] Awards 2014 : Competition. Cannes. Retrieved 25May2014.

[68] Hoberman, J. (February 24, 2015). Brother From An-other Planet. The Nation. Retrieved March 1, 2015.

[69] Lake: Horizons Touched (2010), pp. 115133.

[70] Kern: Der Blaue Klang (2010), pp. 99111.

[71] Lake: Horizons Touched (2010), pp. 512.

[72] Lake: Windfall Light (2010), pp. 415441.

10 Further reading Grant, Barry Keith, ed. (2007). Schirmer Encyclo-pedia of Film. Detroit: Schirmer Reference. ISBN0-02-865791-8.

MacCabe, Colin (2005). Godard: A Portrait of theArtist at Seventy. NewYork: Faber and Faber. ISBN978-0-571-21105-0.

Morrey, Douglas (2005). Jean-Luc Godard. NewYork: Manchester University Press. ISBN 978-0-7190-6759-4.

Steritt, David (1998). Jean-Luc Godard: Interviews.Jackson, Mississippi: University Press of Missis-sippi. ISBN 9781578060818.

Usher, Phillip John (2009). De Sexe Incertain:Masculin, Fminin de Godard. French Forum, vol.34, no. 2, pp. 97112.

Godard, Jean-Luc (2014). Introduction to a TrueHistory of Cinema and Television. Montreal: ca-boose. ISBN 978-0-9811914-1-6.

Brody, Richard (2008). Everything Is Cinema: TheWorking Life of Jean-Luc Godard. ISBN 978-0-8050-6886-3.

Temple, Michael. Williams, James S. Witt, Michael(eds.) 2007. For Ever Godard. London: Black DogPublishing.

11

Dixon, Wheeler Winston. The Films of Jean-LucGodard. Albany: State University of New YorkPress, 1997.

Godard, Jean-Luc (2002). The Future(s) of Film:Three Interviews 200001. Bern; Berlin: VerlagGachnang & Springer. ISBN 978-3-906127-62-0.

Loshitzky, Yosefa. The Radical Faces of Godardand Bertolucci.

Silverman, Kaja and Farocki, Harun. 1998. Speak-ing About Godard. NewYork: NewYork UniversityPress.

Temple, Michael and Williams, James S. (eds.)(2000). The Cinema alone: Essays on the Work ofJean-Luc Godard 19852000. Amsterdam: Ams-terdam University Press.

Almeida, Jane. Dziga Vertov Group. So Paulo:witz, 2005. ISBN 85-98100-05-6.

Nicole Brenez, David Faroult, Michael Temple,James E. Williams, Michael Witt (eds.) (2007).Jean-Luc Godard: Documents. Paris: CentreGeorges Pompidou.

Godard Bibliography (via UC Berkeley) Diane Stevenson, Godard and Bazin in the Andre

Bazin special issue, Jerey Crouse (ed.), Film Inter-national, Issue 30, Vol. 5, No. 6, 2007, pp. 3240.

Intxauspe, J.M. (2013). Film Socialisme: Quovadis Europa. hAUSnART, 3: 9499.

Lake, Steve and Griths, Paul, eds. (2007). Hori-zons Touched: the Music of ECM. Granta Books.ISBN 978-1-86207-880-2. 2007.

Mller, Lars (2010). Windfall Light: The Vi-sual Language of ECM. Lars Mller Publishers.ISBN 978-3-03778-157-9 (English) & ISBN 978-3-03778-197-5 (German).

Rainer Kern, Hans-Jrgen Linke and WolfgangSandner (2010). Der Blaue Klang. Wolke Verlag.ISBN 978-3-936000-83-2 (German).

11 External links Jean-Luc Godard at the Internet Movie Database Cinema=Godard=Cinema, a hub for academic in-

formation and discussion about Godard

Jean-Luc Godard at the Criterion Collection Jean Luc Godard Biography at newwavelm.com Jean-luc Godard Timeline

Detailed lmography of Jean-Luc Godard onunifrance.org

Jean-Luc Godard at The Guardian Film Jean-Luc Godard at The New York TimesMovies Jean-Luc Godard collected news and commentary atThe New York Times

Publications by and about Jean-Luc Godard in thecatalogue Helveticat of the Swiss National Library

Guardian interview (29 April 2005) Video dialogin Frenchbetween Godard and theFrench writer Stphane Zagdanski about Literatureand Cinema, November 2004

12 12 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

12 Text and image sources, contributors, and licenses12.1 Text

Jean-Luc Godard Source: http://en.wikipedia.org/wiki/Jean-Luc_Godard?oldid=664697523 Contributors: AxelBoldt, Mav, Tarquin, An-dre Engels, Danny, SJK, William Avery, Ben-Zin~enwiki, Camembert, R Lowry, Olivier, Trista, Jahsonic, GUllman, Liftarn, Gabbe,Looxix~enwiki, Lupinoid, Sethmahoney, Mulad, Tpbradbury, Kaare, Carbuncle, Robbot, Gantoi, Naddy, Modulatum, TPK, Asparagus,JoshMartin, DocWatson42, Jyril, Tom harrison, Levin, Chips Critic, Ruy Lopez, 1297, Phil Sandifer, Oneiros, Sam, D6, David Sneek, Dis-cospinster, Rich Farmbrough, Kaisershatner, MockTurtle, El C, Kwamikagami, Jashiin, Kevin Myers, Rajah, Jumbuck, Alansohn, Sweeny,Albrecht Conz, Philip Cross, Lectonar, Iddqd~enwiki, Wtmitchell, Grenavitar, Netkinetic, Mel Etitis, Woohookitty, Tonigonenstein, Jean-Luc Col, GregorB, Marudubshinki, Sparkit, Buxtehude, Johnhpaulin, Moulinette, JIP, Dvyost, Rjwilmsi, Koavf, Vary, MarnetteD, FlaBot,CDThieme, Ground Zero, Gareth E Kegg, Chobot, Bgwhite, Wasted Time R, YurikBot, RussBot, Heydude, Alexknowles, Gaius Cor-nelius, Neilbeach, Knolls, Onion Terror, Infamous30, Blim8183, BorgQueen, Superp, Tyrenius, Garion96, Evillights, Jeremy Butler, Grin-Bot~enwiki, Rehevkor, Attilios, SmackBot, Bobet, Phaldo, KocjoBot~enwiki, Alsandro, Betacommand, Chris the speller, TimBentley,DStoykov, Beststudent, Colonies Chris, MercZ, Dumpendebat, OrphanBot, Actionist, TheKMan, Piltdown, Lpgeen, Weregerbil, Wiz-ardman, Ceoil, Ohconfucius, SashatoBot, Nishkid64, Ser Amantio di Nicolao, Merchbow, Jaiwills, Neddyseagoon, E-Kartoel, Sharnak,Big Smooth, Btankey, SubSeven, Hu12, Iridescent, Impy4ever, Pablosecca, CmdrObot, AlbertSM, Coolville, ShelfSkewed, Gregbard,Smauro, Cydebot, Djg2006, Lugnuts, Dancter, B, Mathew5000, Jean Luc Godard, After Midnight, Legotech, Drumnjazz, Marina T.,Biruitorul, Frank, Sigma-Algebra, Natalie Erin, Scottandrewhutchins, Escarbot, RobotG, Seaphoto, Igorrr, Darrenhusted, Xhienne, Ferl-bahoo, Katekathryn, Bubka42, Wildhartlivie, Freshacconci, James317a, JamesBWatson, Newton-noze, Mymansyd, Zoot mojo, Benzocane,Shame On You, Paris By Night, Exiledone, Chris G, Akulo, CommonsDelinker, Johnpacklambert, Grampa, Kabuki dreams, 88888, Kata-laveno, NewEnglandYankee, DadaNeem, Toon05, Flatterworld, Iivishnevetsky, Andy Marchbanks, RJASE1, Malik Shabazz, VolkovBot,Piersons Puppeteer, Tiktuk, TXiKiBoT, A4bot, Pgmnyc, 1904.CC, Malick78, Finngall, Temporaluser, Skepper43, BettinaSen, SieBot,StAnselm, Tomasboij, PeterFV, Stogdad, LibStar, Wizard909, Allysia, Monegasque, Aspects, Lisatwo, Vanished user kijsdion3i4jf, OK-Bot, Reginmund, ZH Evers, BCST2001, Richjern, Alpha Centaury, Binksternet, Troville, All Hallows Wraith, Plastikspork, Drmies, Slak-jaw, Niceguyedc, Cirt, Jumbolino, Asmaybe, Muhandes, Andrew2312, LaVidaLoca, Deoli1, Doprendek, BOTarate, Taranet, Quetzapret-zel, Wobzrem, XLinkBot, Tristanchevremont, MystBot, Addbot, Rachel0898, Manuel Trujillo Berges, Agusk7, Ghuitere, Elan26, Tassede-the, Jblee18, Prowikia, Bougie27, Lightbot, Lowrijones1988, Softy, Legobot, Luckas-bot, Yobot, Kartano, MarioS, Granddukesnances,MonticelloMark, Browndog72, Kookyunii, Radiopathy, AnomieBOT, Jmarob, Materialscientist, LilHelpa, Xqbot, Tapinocaninus, Shar-ing22, Date delinker, Srich32977, Omnipaedista, Sayerslle, Celuici, Patchy1, MundieNytDelite, Pick your own, Inscription, Echoame,Kwiki, Tinton5, Tcallobre, Seam123, MondalorBot, Barefeetdude, Kgrad, TobeBot, Anthony Winward, RjwilmsiBot, TjBot, Spacejam2,Mitprat, EmausBot, And we drown, GoingBatty, Zagoury, Yinzland, Artiquities, GZ-Bot, AndrewOne, Fandeborges, Musketeer00, Rostz,Steve hoge, ClueBot NG, Philsutherland, Jack Greenmaven, Tanbircdq, NordhornerII, MontyMee, YellowFratello, Widr, Patriciathornton,Helpful Pixie Bot, IrishStephen, Regulov, BG19bot, Northamerica1000, Websitesurfer, Cinemahudson, Isengupta, Brice.guezet, Avo-catoBot, AwamerT, Compfreak7, Zenusta, Adam Berlin, Melshoe, Smmmaniruzzaman, WMM1532, Deoliveirafan, Janga5382, Menk-inAlRire, BattyBot, ChrisGualtieri, YFdyh-bot, Khazar2, ReynoldsC, Soulparadox, Weathervane13, Ophuls20393, Mogism, VIAFbot,Klingensmithan, TRGUY, Ketxus, Finnegan2013, Anpowell, TarkovskyFanX957, Ptq7, Xenxax, SoccerMaster999, Gomuse17, DigitalDugong, Je.est.un.autre, Michael Dominik Fischer, KasparBot and Anonymous: 280

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Early life Early career (195059) Film criticism Filmmaking

Cinematic period (196068) Films Politics Vietnam War

Bertolt Brecht Marxism

Revolutionary period (196879)Films Jean-Pierre Gorin The Dziga Vertov group Sonimage

1980present Filmography Collaboration with ECM Records See alsoReferences Further reading External links Text and image sources, contributors, and licensesTextImagesContent license