Jean-Luc Godard
From The Art and Popular Culture Encyclopedia
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| + | "[[Les enfants de Marx et Coca Cola]]"--''[[Masculin Féminin]]'' | ||
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| + | <hr> | ||
| + | "With typically playful [[perversity]], [[Jean-Luc Godard |Godard]] uses [[nudity]] to serve as ideological statement, surrealist and "obscene" in its unexpected transposition of [[Freud]] with brain and [[Marx]] with sex. These two names also denote the true parameters of Godard's universe and his determination to destroy [[Illusionism (art)|illusionism]] by introducing lettering into the visuals."--''[[Film as a Subversive Art]]'' (1974) by Amos Vogel on an image, featured in the film ''[[Joy of Learning]]'', of a woman lying [[Beaver shot|spread-eagled]] on the beach with a Sigmund Freud-arrow pointing to her head and a Karl Marx-arrow pointing to her genitals, at the beginning of the section "The Attack on Puritanism: Nudity". | ||
| + | <hr> | ||
| + | "Repetitions of the same clumsy stupidities in his films are automatically seen as breathtaking [[innovations]]. They are beyond any attempt at explanation; his admirers consume them as confusedly and arbitrarily as [[Jean-Luc Godard|Godard]] produced them, because they recognize in them the consistent expression of a subjectivity. This is true, but it is a subjectivity on the level of a concierge educated by the [[mass media]]. Godard’s “critiques” never go beyond the innocuous humor typical of nightclub comedians or [[Mad magazine]]. His flaunted culture is largely the same as that of his audience, which has read exactly the same pages in the same drugstore paperbacks." --[[Internationale Situationniste]] #10 (March 1966) | ||
| + | <hr> | ||
| + | "... it is harldy surprising that [Godard] was dismissed as an imbecile by many of those from the avant-garde milieus connected to [[lettrism]]. [...] The ardour of Guy Debord and his associates on the subject of Godard stems directly from the fact that Jean-Luc was providing the bourgeoisie with a [[middlebrow]] [[commercialization]] of [[avant-garde cinema]]. Indeed, the invocation of the penal code during the discussion of prostitution in ''[[Vivre sa vie]]'' recalls Debord's similar use of material on the soundtrack of his 1953 feature length anti-classic ''[[Screams in Favour of de Sade]]''." --''[[Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s]]'' (2005) by Christoph Grunenberg and Jonathan Harris | ||
| + | |} | ||
| {{Template}} | {{Template}} | ||
| - | '''Jean-Luc Godard''' (born [[3 December]], [[1930]] in [[Paris]]) is a French [[filmmaker]] and one of the most [[influential]] members of the ''Nouvelle Vague'', or "[[French New Wave]]". [[Guy Debord]] dismissed him as an "offspring of Mao and Coca Cola". | + | '''Jean-Luc Godard''' (1930 – 2022) was a French-Swiss film director who rose to prominence as a pioneer of the [[Nouvelle Vague]] in European cinema. |
| - | Born to [[French people|Franco]]-[[Swiss]] parents in Paris, he was educated in [[Nyon]], [[Switzerland]], later studying at the Lycée Rohmer, and the [[University of Paris|Sorbonne]] back to Paris. During his time at the Sorbonne, he became involved with the young group of filmmakers and film theorists that gave birth to the New Wave. | + | He is best known for his [[jump cuts]] in ''[[Breathless (1960 film)|À bout de souffle]]'' (1960). Other films of the same period and with the same desire to [[defy audience expectations]] are ''[[Vivre sa vie]]'' (1962), ''[[Bande à part (film)|Bande à part]]'' (1964), and ''[[Pierrot le Fou]]'' (1965). |
| - | Known for stylistic implementations that challenged, at their focus, the conventions of [[Cinema of the United States|Hollywood cinema]], he became universally recognized as the most audacious and radical of the New Wave filmmakers. He adopted a position in filmmaking that was unambiguously political. His work reflected a fervent knowledge of [[History of Film|film history]], a comprehensive understanding of [[Existentialism|existential]] and [[Marxist philosophy]], and a scholarly disposition that placed him as the lone filmmaker among the public [[Intellectualism#Academics and public intellectuals|intellectuals]] of the [[Rive Gauche]]. | + | He is lesser known for the [[political cinema]] during his communist period. Of note is the Freudo/Marx erotic pinup still in ''[[Le gai savoir]]'' (1969). |
| + | == Education == | ||
| - | ==Directing Filmography== | + | Born to [[French people|Franco]]-[[Swiss]] parents in Paris, he was educated in [[Nyon]], [[Switzerland]], later studying at the Lycée Rohmer, and the [[University of Paris|Sorbonne]] back to Paris. During his time at the Sorbonne, he became involved with the young group of filmmakers and film theorists that gave birth to the New Wave. |
| - | ===Early Works=== | + | |
| - | *[[1954 in film|1954]] '''[[Opération béton]]''' (Operation Concrete) | + | |
| - | *[[1955 in film|1955]] '''[[Une femme coquette]]''' (A Coquettish Woman) | + | |
| - | *[[1957 in film|1957]] '''[[All the Boys Are Called Patrick|"Charlotte et Véronique," ou "Tous les garçons s'appellent Patrick"]]''' (''"Charlotte and Véronique," or: "All Boys Are Called Patrick"'') | + | |
| - | *[[1958 in film|1958]] '''[[Une histoire d'eau]]''' (A History of Water) | + | |
| - | *[[1958 in film|1958]] '''[[Charlotte et son Jules]]''' (Charlotte and Her Boyfriend) | + | |
| - | ===[[French New Wave]] (1959 – 1967)=== | + | == New Wave == |
| - | ====Feature Films==== | + | |
| - | *[[1959 in film|1959]] '''[[Breathless (1960 film)|À bout de souffle]]''' (''Breathless'') | + | Known for stylistic implementations that challenged, at their focus, the conventions of [[Cinema of the United States|Hollywood cinema]], he became universally recognized as the most audacious and radical of the New Wave filmmakers. He adopted a position in filmmaking that was unambiguously political. His work reflected a fervent knowledge of [[film history]], a comprehensive understanding of [[Existentialism|existential]] and [[Marxist philosophy]], and a scholarly disposition that placed him as the lone filmmaker among the public [[Intellectualism#Academics and public intellectuals|intellectuals]] of the [[Rive Gauche]]. |
| - | *[[1960 in film|1960]] '''[[Le petit Soldat|Le Petit soldat]]''' (''The Little Soldier'') | + | |
| - | *[[1961 in film|1961]] '''[[A Woman Is a Woman|Une femme est une femme]]''' (''A Woman Is a Woman'') | + | |
| - | *[[1962 in film|1962]] '''[[My Life to Live|Vivre sa vie]]''' (''To Live One's Life'') — a.k.a. ''My Life to Live'' | + | |
| - | *[[1963 in film|1963]] '''[[Les Carabiniers]]''' (''The Riflemen'') | + | |
| - | *[[1963 in film|1963]] '''[[Contempt (film)|Le Mépris]]''' (''Contempt'') | + | |
| - | *[[1964 in film|1964]] '''[[Bande à part]]''' (''Band of Outsiders'') | + | |
| - | *[[1964 in film|1964]] '''[[Une femme mariée|Une femme mariée, fragments d'un film tourné en 1964 en noir et blanc]]''' (''A Married Woman: Fragments of a Film Shot in 1964 in Black and White'') | + | |
| - | *[[1964 in film|1965]] '''[[Alphaville, a Strange Adventure of Lemmy Caution|Alphaville, une étrange aventure de Lemmy Caution]]''' (''Alphaville: One of Lemmy Caution's Strange Cases'') | + | |
| - | *[[1965 in film|1965]] '''[[Pierrot le fou]]''' (''Pierrot the Mad'') | + | |
| - | *[[1966 in film|1966]] '''[[Masculin,_féminin|Masculin Féminin, 15 faits précis]]''' (''Masculine Feminine: 15 Precise Facts'') | + | |
| - | *[[1966 in film|1966]] '''[[Made in U.S.A. (film)|Made in U.S.A.]]''' | + | |
| - | *[[1966 in film|1966]] '''[[Two or Three Things I Know About Her|2 ou 3 choses que je sais d'elle]]''' (''2 or 3 Things I Know About Her'') | + | |
| - | *[[1967 in film|1967]] '''[[La Chinoise]]''' (''The Chinese'') | + | |
| - | *[[1967 in film|1967]] '''[[Week End|Weekend]]''' | + | |
| - | ====Short Films==== | + | == Filmography == |
| - | *[[1961 in film|1961]] "La Paresse" (''Sloth'') | + | '''Feature films''' |
| - | :from '''[[Les Sept péchés capitaux]]''' (The Seven Deadly Sins) | + | |
| - | *[[1962 in film|1962]] "Il Nuovo mondo" (''The New World'') | + | |
| - | : from '''[[RoGoPaG]]''' | + | |
| - | *[[1963 in film|1963]] "Le Grand escroc" (''The Big Swindler'') | + | |
| - | : from '''[[Les plus belles escroqueries du monde]]''' (The World's Most Beautiful Swindlers)'' | + | |
| - | *[[1964 in film|1964]] "[[Reportage sur Orly]]" (''Reporting on Orly'') | + | |
| - | *[[1965 in film|1965]] "Montparnasse-Levallois" | + | |
| - | : from '''[[Paris vu par...]]''' (''Paris as Seen by...'') — a.k.a. ''Six in Paris'' | + | |
| - | *[[1967 in film|1967]] "Anticipation, ou: l'amour en l'an 2000" (''Anticipation: or Love in the Year 2000'') | + | |
| - | : from '''[[Le Plus vieux métier du monde]]''' (''The World's Oldest Profession'') | + | |
| - | *[[1967 in film|1967]] "Caméra-oeil" (''Camera-Eye'') | + | |
| - | : from '''[[Loin du Vietnam]]''' (''Far from Vietnam'') | + | |
| - | *[[1967 in film|1967]] "L'amore (Andate e ritorno dei figli prodighi)" (''Love: Departure and Return of the Prodigal Children'') | + | |
| - | : from '''[[Amore e rabbia]]''' (''Love and Anger'') | + | |
| - | ===[[Dziga Vertov Group]]/Political Films (1968 – 1972)=== | + | The list excludes multi-director [[anthology film]]s to which Godard has contributed shorts. |
| - | *[[1968 in film|1968]] '''[[Le Gai savoir]]''' (''Happy Knowledge'') | + | |
| - | *[[1968 in film|1968]] '''[[Ciné-tracts]]''' | + | |
| - | *[[1968 in film|1968]] '''[[Un Film comme les autres]]''' (''A Film Like the Others'') | + | |
| - | *[[1968 in film|1968]] '''[[Sympathy for the Devil (film)|One Plus One]]''' — a.k.a. (in a version in which the ending was re-cut by the producer) ''Sympathy for the Devil'' | + | |
| - | *[[1968 in film|1968]] '''[[One A.M. (1968 film)|One A.M.]]''' (One American Movie) unfinished | + | |
| - | : incorporated into [[One P.M.]] (One Parallel Movie/One Pennebaker Movie) by [[D. A. Pennebaker]] in [[1971 in film|1971]] | + | |
| - | *[[1969 in film|1969]] '''[[Communications (film)|Communications]]''' unfinished | + | |
| - | *[[1969 in film|1969]] '''[[British Sounds]]''' a.k.a. ''See You at Mao'' | + | |
| - | *[[1969 in film|1969]] '''[[Pravda (film)|Pravda]]''' | + | |
| - | *[[1969 in film|1969]] '''[[Le Vent d'est]]''' (''Wind from the East'') | + | |
| - | *[[1969 in film|1969]] '''[[Luttes en Italie]]''' (''Struggles in Italy'') | + | |
| - | *[[1970 in film|1970]] '''[[Jusqu'à la victoire]]''' (''Until Victory'') unfinished | + | |
| - | : incorporated into '''[[Ici et ailleurs]]''' (''Here and Elsewhere'') by [[Jean-Luc Godard|Godard]] & [[Anne-Marie Miéville]] in [[1974 in film|1974]] | + | |
| - | *[[1971 in film|1971]] '''[[Vladimir et Rosa]]''' (''Vladimir and Rosa'') | + | |
| - | *[[1972 in film|1972]] '''[[Tout va bien]]''' (''Everything's Going Fine'') | + | |
| - | *[[1972 in film|1972]] '''[[Letter to Jane]]''' | + | |
| - | ===Transitional Period (SonImage) (1974-1978)=== | + | * 1960 ''[[Breathless (1960 film)|Breathless]]'' |
| - | *[[1974 in film|1974]] '''[[Ici et ailleurs]]''' (''Here and Elsewhere'') | + | * 1961 ''[[A Woman Is a Woman]]'' |
| - | *[[1975 in film|1975]] '''[[Numéro deux]]''' (''Number Two'') | + | * 1962 ''[[My Life to Live]]'' |
| - | *[[1976 in film|1976]] '''[[Comment ça va?]]''' (''How's It Going?'') | + | * 1963 ''[[The Little Soldier]]'' |
| - | *[[1976 in film|1976]] '''[[Six fois deux, sur et sous la communication]]''' (''Six Times Two: On and Beneath Communication'') | + | * 1963 ''[[The Carabineers]]'' |
| - | *[[1978 in film|1978]] '''[[France/tour/détour/deux/enfants]]''' (''France/Tour/Detour/Two/Children'') | + | * 1963 ''[[Contempt (film)|Contempt]]'' |
| - | + | * 1964 ''[[Bande à part (film)|Band of Outsiders]]'' | |
| - | ===Second Wave (1979-1988)=== | + | * 1964 ''[[A Married Woman]]'' |
| - | ====Feature Films==== | + | * 1965 ''[[Alphaville (film)|Alphaville]]'' |
| - | *[[1979 in film|1979]] '''[[Sauve qui peut (la vie)]]''' (''Save (Your Life) Who's Able / Run for (Your Life) If You Can'') — a.k.a. ''Every Man for Himself'' (in North America) and ''Slow Motion'' (in the UK) | + | * 1965 ''[[Pierrot le Fou]]'' |
| - | *[[1982 in film|1982]] '''[[Passion (1982 film)|Passion]]''' | + | * 1966 ''[[Masculin Féminin]]'' |
| - | *[[1983 in film|1983]] '''[[Prénom Carmen]]''' (''First Name: Carmen'') | + | * 1966 ''[[Made in U.S.A. (1966 film)|Made in U.S.A.]]'' |
| - | *[[1985 in film|1985]] '''[[Je vous salue, Marie]]''' (''I Salute Thee, Marie / Hail Mary'') | + | * 1967 ''[[Two or Three Things I Know About Her]]'' |
| - | *[[1985 in film|1985]] '''[[Détective]]''' (''Detective'') | + | * 1967 ''[[La Chinoise]]'' |
| - | *[[1987 in film|1987]] '''[[King Lear (1987 film)|King Lear]]''' | + | * 1967 ''[[Weekend (1967 film)|Week-end]]'' |
| - | *[[1987 in film|1987]] '''[[Soigne ta droite, une place sur la terre]]''' (''Keep Your Right Up: A Place on the Earth'') | + | * 1968 ''A Film Like Any Other'' |
| - | + | * 1968 ''[[Sympathy for the Devil (1968 film)|One Plus One]]'' | |
| - | ====Short Films/Videos==== | + | * 1969 ''[[Joy of Learning]]'' |
| - | *[[1979 in film|1979]] '''[[Quelques remarques sur la réalisation et la production du film 'Sauve qui peut (la vie)']]''' (''A Few Remarks on the Direction and Production of the Film'' Sauve qui peut (la vie)) | + | * 1969 ''[[British Sounds]]'' |
| - | *[[1982 in film|1982]] '''[[Lettre à Freddy Buache à propos d'un court-métrage sur la ville de Lausanne]]''' (''Letter to Freddy Buache Regarding a Short Work About the Town of Lausanne'') | + | * 1970 ''[[Wind from the East]]'' |
| - | *[[1982 in film|1982]] ''Changer d'image'' (''To Alter the Image'') | + | * 1971 ''Struggle in Italy'' |
| - | : from '''[[Le Changement a plus d'un titre]]''' (''Change Has More Than One Title'') | + | * 1971 ''Vladimir et Rosa'' |
| - | *[[1982 in film|1982]] '''[[Scénario du film Passion]]''' | + | * 1972 ''[[Tout va bien]]'' |
| - | *[[1983 in film|1983]] '''[[Petites notes à propos du film Je vous salue, Marie]]''' (''Small Notes Regarding the Film'' Je vous salue, Marie) | + | * 1975 ''[[Number Two (film)|Number Two]]'' |
| - | *[[1986 in film|1986]] '''[[Grandeur et décadence d'un petit commerce de cinéma]]''' (''Grandeur and Decadence of a Small Movie Concern'') | + | * 1976 ''[[Here and Elsewhere]]'' |
| - | *[[1986 in film|1986]] '''[[Soft and Hard]]''' | + | * 1976/1978 ''How's It Going?'' |
| - | *[[1986 in film|1986]] '''[[Meetin' WA]]''' | + | * 1980 ''[[Every Man for Himself (1980 film)|Every Man for Himself]]'' |
| - | *[[1987 in film|1987]] "Armide" | + | * 1982 ''[[Passion (1982 film)|Passion]]'' |
| - | : from '''[[Aria (film)|Aria]]''' | + | * 1983 ''[[First Name: Carmen]]'' |
| - | *[[1988 in film|1988]] '''[[Closed Jeans: Marithé François Girbaud, série 1, 1-10]]''' (''Closed Jeans: Marithé François Girbaud: Series 1: 1-10'') | + | * 1985 ''[[Hail Mary (film)|Hail Mary]]'' |
| - | *[[1988 in film|1988]] '''[[Closed: Marithé et François Girbaud, série 2, 1-7]]''' (''Closed: Marithé and François Girbaud: Series 2: 1-7'') | + | * 1985 ''[[Détective (1985 film)|Detective]]'' |
| - | *[[1988 in film|1988]] '''[[On s'est tous défilé]]''' (''We All Filed Past / We All Stole Away / We All Took Cover / We've All Undone Ourselves'') | + | * 1987 ''[[King Lear (1987 film)|King Lear]]'' |
| - | *[[1988 in film|1988]] '''[[La Puissance de la parole]]''' (''The Power of Speech'') | + | * 1987 ''[[Keep Your Right Up]]'' |
| - | *[[1988 in film|1988]] "Le Dernier mot/Les Français entendus par..." (''The Last Word/The French as Understood by...'') | + | * 1990 ''[[Nouvelle Vague (film)|New Wave]]'' |
| - | : from '''[[Les Français vus par...]]''' (The French as Seen by...) | + | * 1991 ''[[Germany Year 90 Nine Zero]]'' |
| - | + | * 1993 ''[[Les Enfants jouent à la Russie|The Kids Play Russian]]'' | |
| - | ===1989 – Present: All Works=== | + | * 1993 ''[[Hélas pour moi|Oh Woe Is Me]]'' |
| - | + | * 1994 ''[[JLG/JLG – Self-Portrait in December]]'' | |
| - | *[[1989 in film|1989]] '''[[Le Rapport Darty]]''' (''The Darty Report / The Darty Connection'') | + | * 1996 ''[[For Ever Mozart]]'' |
| - | *[[1990 in film|1990]] '''[[Marithé François Girbaud: Métamorphojean]]''' | + | * 2001 ''[[In Praise of Love (film)|In Praise of Love]]'' |
| - | *[[1990 in film|1990]] '''[[Nouvelle Vague (film)]]''' (''New Wave'') | + | * 2004 ''[[Notre musique]]'' |
| - | *[[1991 in film|1991]] '''[[Allemagne année 90 neuf zéro]]''' (''Germany Year 90 Nine Zero'') | + | * 2010 ''[[Film Socialisme]]'' |
| - | *[[1993 in film|1993]] '''[[Les Enfants jouent à la Russie]]''' (''The Kids Play Russian'') | + | * 2014 ''[[Goodbye to Language]]'' |
| - | *[[1993 in film|1993]] '''[[Hélas pour moi]]''' (''Alas for Me / Oh Woe Is Me'') | + | * 2018 ''[[The Image Book]]'' |
| - | *[[1993 in film|1993]] '''[[Je vous salue Sarajevo]]''' (''I Salute Thee Sarajevo / Hail Sarajevo'') | + | ==See also== |
| - | *[[1994 in film|1994]] '''[[JLG/JLG, autoportrait de décembre]]''' (''JLG/JLG: Self-Portrait in December'') | + | *[[Redoubtable (film) ]] |
| - | *[[1995 in film|1995]] '''[[2 x 50 ans de cinéma français]]''' (''2 x 50 French Cinema Years'') | + | |
| - | *[[1996 in film|1996]] '''[[For Ever Mozart]]''' | + | |
| - | *[[1998 in film|1998]] '''[[Histoire(s) du cinéma]]''' (''History(s) of the Cinema'') — 1988-1998 | + | |
| - | *[[1999 in film|1999]] '''[[Small Notes Regarding the Arts at Fall of 20th Century: The Old Place]]''' (with Anne-Marie Miéville) | + | |
| - | *[[2000 in film|2000]] '''[[De l'origine du XXIe siècle pour moi]]''' (''Of the Origin of the XXIst Century for Me'') | + | |
| - | *[[2001 in film|2001]] '''[[Eloge de l'amour]]''' (''Elegy for Love / Ode to Love'') — a.k.a. ''In Praise of Love'' | + | |
| - | *[[2002 in film|2002]] '''[[Liberté et patrie]]''' (''Freedom and Fatherland'') (with Anne-Marie Miéville) | + | |
| - | *[[2004 in film|2004]] '''[[Notre musique]]''' (''Our Music'') | + | |
| - | *[[2006 in film|2006]] '''[[Vrai faux passeport]]''' (''True False Passport'') | + | |
| - | *[[2006 in film|2006]] '''[[Prières pour refuzniks: 1]]''' (''Prayers for Refuseniks: 1'') | + | |
| - | *[[2006 in film|2006]] '''[[Prières pour refuzniks: 2]]''' (''Prayers for Refuseniks: 2'') | + | |
| - | *[[2006 in film|2006]] '''[[L'eau de Vie, un film de Jean-Luc Godard]]''' (''Water of Life, a film by Jean-Luc Godard'')<ref>La Jornada de Morelos, January 12, 2008</ref> | + | |
| - | + | ||
| - | ===Film Segments=== | + | |
| - | {| class="wikitable" | + | |
| - | |- bgcolor="#CCCCCC" | + | |
| - | ! Year !! Film !! Segment !! Involvement | + | |
| - | |- | + | |
| - | | [[1990 in film|1990]] || ''Comment vont les enfants'' (a.k.a. How Are The Kids?) || ''L'enfance de l'art'' (a.k.a. The Infancy of Art) || Director | + | |
| - | |- | + | |
| - | | [[1991 in film|1991]] || ''Contre l'oubli'' (a.k.a. Lest We Forget) || ''Pour Thomas Wainggai'' (a.k.a. For Thomas Wainggai) || Director | + | |
| - | |- | + | |
| - | | [[2002 in film|2002]] || ''[[Ten Minutes Older: The Cello]]'' || ''Dans le noir du temps'' (a.k.a. In The Blackness of Time) || Director | + | |
| - | |} | + | |
| {{GFDL}} | {{GFDL}} | ||
Current revision
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"Les enfants de Marx et Coca Cola"--Masculin Féminin "With typically playful perversity, Godard uses nudity to serve as ideological statement, surrealist and "obscene" in its unexpected transposition of Freud with brain and Marx with sex. These two names also denote the true parameters of Godard's universe and his determination to destroy illusionism by introducing lettering into the visuals."--Film as a Subversive Art (1974) by Amos Vogel on an image, featured in the film Joy of Learning, of a woman lying spread-eagled on the beach with a Sigmund Freud-arrow pointing to her head and a Karl Marx-arrow pointing to her genitals, at the beginning of the section "The Attack on Puritanism: Nudity". "Repetitions of the same clumsy stupidities in his films are automatically seen as breathtaking innovations. They are beyond any attempt at explanation; his admirers consume them as confusedly and arbitrarily as Godard produced them, because they recognize in them the consistent expression of a subjectivity. This is true, but it is a subjectivity on the level of a concierge educated by the mass media. Godard’s “critiques” never go beyond the innocuous humor typical of nightclub comedians or Mad magazine. His flaunted culture is largely the same as that of his audience, which has read exactly the same pages in the same drugstore paperbacks." --Internationale Situationniste #10 (March 1966) "... it is harldy surprising that [Godard] was dismissed as an imbecile by many of those from the avant-garde milieus connected to lettrism. [...] The ardour of Guy Debord and his associates on the subject of Godard stems directly from the fact that Jean-Luc was providing the bourgeoisie with a middlebrow commercialization of avant-garde cinema. Indeed, the invocation of the penal code during the discussion of prostitution in Vivre sa vie recalls Debord's similar use of material on the soundtrack of his 1953 feature length anti-classic Screams in Favour of de Sade." --Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s (2005) by Christoph Grunenberg and Jonathan Harris |
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Related e |
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Featured: |
Jean-Luc Godard (1930 – 2022) was a French-Swiss film director who rose to prominence as a pioneer of the Nouvelle Vague in European cinema.
He is best known for his jump cuts in À bout de souffle (1960). Other films of the same period and with the same desire to defy audience expectations are Vivre sa vie (1962), Bande à part (1964), and Pierrot le Fou (1965).
He is lesser known for the political cinema during his communist period. Of note is the Freudo/Marx erotic pinup still in Le gai savoir (1969).
Contents |
[edit]
Education
Born to Franco-Swiss parents in Paris, he was educated in Nyon, Switzerland, later studying at the Lycée Rohmer, and the Sorbonne back to Paris. During his time at the Sorbonne, he became involved with the young group of filmmakers and film theorists that gave birth to the New Wave.
[edit]
New Wave
Known for stylistic implementations that challenged, at their focus, the conventions of Hollywood cinema, he became universally recognized as the most audacious and radical of the New Wave filmmakers. He adopted a position in filmmaking that was unambiguously political. His work reflected a fervent knowledge of film history, a comprehensive understanding of existential and Marxist philosophy, and a scholarly disposition that placed him as the lone filmmaker among the public intellectuals of the Rive Gauche.
[edit]
Filmography
Feature films
The list excludes multi-director anthology films to which Godard has contributed shorts.
- 1960 Breathless
- 1961 A Woman Is a Woman
- 1962 My Life to Live
- 1963 The Little Soldier
- 1963 The Carabineers
- 1963 Contempt
- 1964 Band of Outsiders
- 1964 A Married Woman
- 1965 Alphaville
- 1965 Pierrot le Fou
- 1966 Masculin Féminin
- 1966 Made in U.S.A.
- 1967 Two or Three Things I Know About Her
- 1967 La Chinoise
- 1967 Week-end
- 1968 A Film Like Any Other
- 1968 One Plus One
- 1969 Joy of Learning
- 1969 British Sounds
- 1970 Wind from the East
- 1971 Struggle in Italy
- 1971 Vladimir et Rosa
- 1972 Tout va bien
- 1975 Number Two
- 1976 Here and Elsewhere
- 1976/1978 How's It Going?
- 1980 Every Man for Himself
- 1982 Passion
- 1983 First Name: Carmen
- 1985 Hail Mary
- 1985 Detective
- 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
- 2018 The Image Book
[edit]
See also
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Jean-Luc Godard" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
