Jean-Luc Godard's political filmmaking
- 作者: Emmelhainz, Irmgard,
- 出版:
- 稽核項: ix, 327 pages ;22 cm.
- 標題: Godard, Jean-Luc, , Criticism and interpretation. , Godard, Jean-Luc, 1930- Criticism and interpretation. , Politics in motion pictures.
- ISBN: 3319720945 , 9783319720944
- ISBN: 9783319720951
- 附註: Includes bibliographical references and index. Machine generated contents note:
- 摘要: 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.
- 系統號: 005267455
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
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.
來源: Google Book
來源: Google Book
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