Chapter 7: Conclusion: TheLegacy ofMilitant Filmmaking or How toRise Above Everything That Is Dying?Bibliography; Index
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From Speaking intheName ofOthers toaSimple ConversationShot/Reverse-Shot; Annihilation, the"Pure Past" andPhaedra; The Memory oftheFilm; Apology oftheVanquished fortheirLoss; Our Music; Bibliography; Chapter 6: Conditions ofVisuality andMaterialist Film at theTurn oftheTwenty-First Century; Dialectical Materialist Film-making in Film Socialisme; The Exhaustion oftheImaginary; Sensible Memory inFilm Socialisme; Nos Humanités; Adieu au Langage or Film asMetaphor; Bibliography
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Technique andVideo: AnEpistemology ofSeeingBrand Images; Perception, History andMontage; Appropriation, Stoppage, Défilé; Passion andLe Rapport Darty: Materialist Filmmaking, Encore; Bibliography; Chapter 5: Representing theUnrepresentable: Restitution, Archive, Memory; Witness-Images, Alienated Subjectivities andRestitution; Representation andtheShoah: Forbidden Images, Forbidden Montage, Forbidden Testimony; The Wars ofAnnihilation/Memory andResistance AgainstWar andtheReign ofFear; The Image Has Been Covered by Text
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The Third World inEuropean EyesGodard's Tiersmondisme; Radical Tourism andthePalestinian Revolution: Jusqu'à la Victoire; From Jusqu'à la Victoire toIci et Ailleurs; Sonimage andAnxiety ofBlindness; Sonimage, theCarnation Revolution andtheNewly Independent Mozambique; Comment Changer d'Image/Montrer une Image du Changement?; Bibliography; Chapter 4: Technique andMontage: Saying, Seeing andShowing theInvisible; Materialist Filmmaking andSpectacle; Toward New Forms ofthePolitical; How toSee andtoProvide A Means to See? Cinematic Voice andtheRegime ofEnunciation
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SUMMARY OR ABSTRACT
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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.
OTHER EDITION IN ANOTHER MEDIUM
Title
JEAN-LUC GODARDS POLITICAL FILMMAKING.
International Standard Book Number
3319720945
PERSONAL NAME USED AS SUBJECT
Godard, Jean-Luc,1930-Criticism and interpretation.