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Jean-Luc Godard's political filmmaking

Emmelhainz, Irmgard.

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Jean-Luc Godard's political filmmaking

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Jean-Luc Godard's political filmmaking/ by Irmgard Emmelhainz.
作者:	Emmelhainz, Irmgard.
出版者:	Cham :Springer International Publishing : : 2019.,
面頁冊數:	ix, 327 p. :ill., digital ;24 cm.
內容註:	1. Introduction -- 2. Who Speaks Here?: Jean-Luc Godard's 'Militant Filmmaking' (1967-1974) -- 3. Elsewhere: Dialogue of Points of View: Jean-Luc Godard and Tiersmondisme -- 4. Technique and Montage: Saying, Seeing and Showing the Invisible -- 5. Representing the Unrepresentable: Restitution, Archive, Memory -- 6. Conditions of Visuality and Materialist Film at the Eve of the 21st Century -- 7. Conclusion.
Contained By:	Springer eBooks
標題:	Politics in motion pictures. -
電子資源:	https://doi.org/10.1007/978-3-319-72095-1
ISBN:	9783319720951

Jean-Luc Godard's political filmmaking
Emmelhainz, Irmgard.

Jean-Luc Godard's political filmmaking[electronic resource] /by Irmgard Emmelhainz. - Cham :Springer International Publishing :2019. - ix, 327 p. :ill., digital ;24 cm.

1. Introduction -- 2. Who Speaks Here?: Jean-Luc Godard's 'Militant Filmmaking' (1967-1974) -- 3. Elsewhere: Dialogue of Points of View: Jean-Luc Godard and Tiersmondisme -- 4. Technique and Montage: Saying, Seeing and Showing the Invisible -- 5. Representing the Unrepresentable: Restitution, Archive, Memory -- 6. Conditions of Visuality and Materialist Film at the Eve of the 21st Century -- 7. Conclusion.

This book offers an examination of the political dimensions of a number of Jean-Luc Godard's films from the 1960s to the present. The author seeks to dispel the myth that Godard's work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard's little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard's investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director's oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard's work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard's ongoing inquiry on the role filmmakers can have in progressive political engagement.

ISBN: 9783319720951

Standard No.: 10.1007/978-3-319-72095-1doiSubjects--Personal Names:

854664
Godard, Jean-Luc,
1930---Criticism and interpretation.Subjects--Topical Terms:

611274
Politics in motion pictures.

LC Class. No.: PN1995.9.P6 / E464 2019

Dewey Class. No.: 791.436581

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505 0 $a 1. Introduction -- 2. Who Speaks Here?: Jean-Luc Godard's 'Militant Filmmaking' (1967-1974) -- 3. Elsewhere: Dialogue of Points of View: Jean-Luc Godard and Tiersmondisme -- 4. Technique and Montage: Saying, Seeing and Showing the Invisible -- 5. Representing the Unrepresentable: Restitution, Archive, Memory -- 6. Conditions of Visuality and Materialist Film at the Eve of the 21st Century -- 7. Conclusion.
520 $a This book offers an examination of the political dimensions of a number of Jean-Luc Godard's films from the 1960s to the present. The author seeks to dispel the myth that Godard's work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard's little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard's investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director's oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard's work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard's ongoing inquiry on the role filmmakers can have in progressive political engagement.
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