Marguerite Duras

Jean-Luc Godard

Cyril Beghin

"The two demonstrate a profound shared passion, a way of literally being one with a medium and speaking about it with a dazzling lyricism interspersed with dryly ironic remarks, fueled by a conviction that inspires them to traverse history. Their point of intersection is obvious. Duras, a writer, is also a filmmaker, and Godard, a filmmaker, has maintained a distinctive relationship with literature, writing and speech."--Cyril Béghin, back cover.

Duras/Godard Dialogues

Michael Witt

Timothy Barnard

Serge Losique

Introduction to a True History of Cinema and Television

Pierrot Le Fou

söyleşiler

Godard Godard'ı anlatıyor

Réunit trois entretiens avec le cinéaste parus dans différentes revues et portant le titre de: "Avenir(s) du cinéma" paru dans un numéro spécial Festival de Cannes en mai 2000; "Jean-Luc Godard : une longue histoire" paru dans les Cahiers du cinéma /no 557, mai 2001; "Le cinéma ment, pas le sport" paru dans le journal L'Equipe, 9 mai 2001

The Future(s) of Film : Three Interviews 2000-01

Trois conversations organisées à plusieurs années de distance entre Marguerite Duras et Jean-Luc Godard sont ici rendues publiques pour la première fois. La figure de l'écrivain demeure centrale ; c'est autour d'elle que se structurent les échanges. Considéré par Duras comme " le plus grand catalyseur du cinéma mondial ", Godard se voit soumis à la question, à propos de son impuissance réelle ou supposée devant l'expression écrite. S'il reconnaît toute l'admiration qu'il porte à la littérature, il affirme que la découverte du cinéma a su l'en délivrer : " J'étais content de découvrir un objet mécanique où il n'y a pas grand-chose à faire, si l'on peut dire. " En 1969, Duras inaugure une oeuvre cinématographique ponctuée de succès critiques et commerciaux : India Song, Le Camion...

Dialogues

Au moment où le nouveau film de Jean-Luc Godard," Eloge de l'amour," sort en salle, les éditions P.O.L publient les phrases du film, comme elles l'avaient déjà fait pour cinq autres films du même cinéaste.

phrases (sorties d'un film)

Eloge de l'amour

A woman is a woman -- A married woman -- Two or three things I know about her.

Three Films

Godard

J.-L. Godard a regroupé les articles parus dans le magazine Les cahiers du cinéma fondés par André Bazin en 1951 durant les sept années pendant lesquelles Anna Karina fut son épouse. Contient également des entretiens avec le cinéaste.

Les années Karina 1960 à 1967

Godard par Godard

"Pour suivre, selon l'ordre chronologique de son oeuvre, l'itinéraire du plus inventif des cinéastes modernes.

Jean-Luc Godard par Jean-Luc Godard: 1950-1984

2 ou 3 choses que je sais d'elle

Godard on Godard

The Continuity Script

Breathless (A Bout de Souffle)

Dudley Andrew

A Film by Jean-Luc Godard

Breathless

Alphaville; a Film

documents [published on the occasion of the exhibition, "Voyage(s) en utopie, Jean-Luc Godard, 1946-2006" held at Galerie Sud, Centre Pompidou, Paris, 11 May - 14 August, 2006] ; et "de la retrospective intégrale des films de Jean-Luc Godard", 24 April -14 August, 2006]

Introduction à une véritable histoire du cinéma

Youssef Ishaghpour

Cinema is quite simply a unique book from one of the most influential film-makers in the history of cinema. Here, Jean-Luc Godard looks back on a century of film as well as his own work and career. Born with the twentieth century, cinema became not just the century's dominant art form but its best historian. Godard argues that - after Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers - film and history are inextricably intertwined. Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. He expounds on his central concerns - how film can "resurrect the past," the role of rhythm in film, and how cinema can be an "art that thinks." Here Godard comes closest to defining a lifetime's obsession with cinema and cinema's lifelong obsession with history.

The Archaeology of Film and the Memory of A Century

Cinema

Cinema is quite simply a unique book from one of the most influential film-makers in the history of cinema. Here, Jean-Luc Godard looks back on a century of film as well as his own work and career in the industry. Born with the twentieth century, cinema became not just the century's dominant art form but its best historian. Godard argues that - after the century of Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers - film and history are inextricably intertwined. Against this backdrop, Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. As the conversation develops, Godard expounds on his central concerns - how film can 'resurrect the past', the role of rhythm in film, and how cinema can be an 'art that thinks'. Cinema: the archaeology of film and the memory of a century is a dialogue between Godard and the celebrated cinphile Youssef Ishaghpour. Here Godard comes closest to defining a lifetime's obsession with cinema and cinema's lifelong obsession with history.

Breathless, a low-budget film, came to be regarded as one of the major accomplishments of the French New Wave cinema of the early sixties. It had a tremendous influence on French filmmakers and on world cinema in general. Beyond its significance in film history, it was also a film of considerable cultural impact. In Breathless, Jean-Luc Godard captured the spirit of a disillusioned generation and fashioned a style, which drew on the past, to parade that disillusionment. In his introduction, Dudley Andrew brilliantly explains what Godard set out to accomplish in Breathless. He illuminates the intertextual and cultural references of the film and the tensions withiin it between tradition and innovation. This volume also features, for the first time in English, the complete and accurate continuity script of Breathless, together with Francois Truffaut's surprisingly detailed original treatment. Also included are an in-depth selection of reviews and criticism in French and English; a brief biographical sketch of the director's life that covers the development of his career, as well as a filmography and selected bibliography. Dudley Andrew is a professor of film studies and comparative literature at Yale University. He is the author of Concepts in Film Theory, Andre Bazin, Flim in the Aura of Art, and other books on film.

Jean-Luc Godard

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