By Tom Conley, T. Jefferson Kline

This compendium of unique essays deals helpful insights into the existence and works of 1 of an important and influential administrators within the heritage of cinema, exploring his significant movies, philosophy, politics, and connections to different critics and administrators. provides a compendium of unique essays supplying priceless insights into the existence and works of 1 of crucial and influential filmmakers within the background of cinema gains contributions from a global solid of significant movie theorists and critics offers readers with either an in–depth interpreting of Godard’s significant movies and a feeling of his evolution from the recent Wave to his later political classes Brings clean insights into the nice director’s biography, together with reflections on his own philosophy, politics, and connections to different critics and filmmakers Explores a few of the eighty positive factors Godard made in approximately 60 years, and contains assurance of his fresh paintings in video

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Extra info for A Companion to Jean-Luc Godard (Wiley-Blackwell Companions to Film Directors)

Example text

E. what he doesn't want to hear is that he is already dead, even though he is still alive. It is then that the daughter-in-law reveals that her husband, Izak's son Ewald, says the same thing. Even though he is only 38, he feels that he is old and dead. T h e conflict between Marianne and her husband is over having a child. He doesn't want one and she does. He is another edition of his father—cruel, cold and rational. He believes it is absurd to add new victims to this cruel world. He himself was an unwanted child in an unhappy marriage.

A hypnotic and masochistic fascination with the woman's desire and a sadistic attempt to gain control over her (p. 99)—fig. 13 below: Scottie's nightmare: Brill (1988) focuses on 'the failure of Scottie to discover himself in love', in contrast to Hitchcock's romantic films in which quests lead 'to the creation (or recovery) through love of the protagonists' personal and social identities' (p. 207). 'No greater horror can occur in a H i t c h ­ EMANUEL BERMAN 48 cock m o v i e t h a n the failure o r exploitation o f the i n s t i n c t to love a n d heal, on w h i c h the recovery of innocence ultimately depends (p.

4 b e l o w : EMANUEL BERMAN 34 A t this h o r r i f y i n g m o m e n t the first element of splitting and d i s a ­ v o w a l i n t h e r e s c u e m y t h c r u m b l e s : w e p a i n f u l l y c o m e to r e a l i s e that o u r K n i g h t is as h e l p l e s s , l o n e l y a n d d e s p e r a t e as h i s B e a u t y . T h i s is soon u n d e r l i n e d by the g u i l t - e n h a n c i n g p r o n o u n c e m e n t o f the i n v e s t i ­ g a t i n g official, an u n r e l e n t i n g l y h a r s h s u p e r e g o r e p r e s e n t a t i v e , as w e l l as b y S c o t t i e ' s n i g h t m a r e , in w h i c h he is n o w t h e o n e f a l l i n g i n t o t h e o p e n g r a v e , he is h i m s e l f b e h e a d e d , it is he w h o is p l u n g i n g to t h e r o o f below, t h e n i n t o a v o i d .

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A Companion to Jean-Luc Godard (Wiley-Blackwell Companions to Film Directors) by Tom Conley, T. Jefferson Kline

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