Jean-Luc Godard (French:[ʒɑ̃lykɡɔdaʁ]; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement La Nouvelle Vague, or "New Wave".[1]
Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality",[1] which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation."[2] To challenge this tradition, he and like-minded critics started to make their own films.[1] Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[3] He is often considered the most radical French filmmaker of the 1960s and 1970s.[4] Several of his films express his political views.[4] His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism, as he was an avid reader of existential and Marxist philosophy.[5] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.
After the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, and a Marxist perspective.[4]
Godard was born in Paris, 7th arrondissement,[13] on 3 December 1930,[14]
the son of Odile (née Monod) and Paul Godard, a Swiss physician.[15]
His wealthy parents came from Protestant families of Franco–Swiss descent, and his mother was the daughter of Julien Monod , a founder of the Banque Paribas. She was the great-granddaughter of theologian Adolphe Monod. Relatives on his mother's side included also composer Jacques-Louis Monod, naturalist Théodore Monod and pastor Frédéric Monod.[16][17] Four years after Jean-Luc's birth his father moved the family to Switzerland. At the outbreak of the Second World War, Godard was in France and returned to Switzerland with difficulty. He spent most of the war in Switzerland though his family made clandestine trips to his grandfather's estate on the French side of Lake Geneva. Godard attended school in Nyon, Switzerland.[citation needed] Godard has spoken of his father's pro-German sympathies and that, following the family's lead, he himself wanted a German victory. He remembers spending about a year and a half when he was twelve/thirteen in wartime Vichy. His maternal grandparents were supporters of Vichy and Julien Monod, an anti-Semite, read aloud Lucien Rebatet's Les Décombres (the Ruins) with his grandson. The Godard family listened to Vichy-run radio at home and Philippe Henriot's speeches were admired - Henriot's assassination, and the execution of pro-Nazi Robert Brasillach, "were days of mourning in the Godard house." Godard's personal preferred reading included André Gide, Georges Bernanos, Marcel Jouhandeau, Julien Green and Andre Malraux.
Not a frequent cinema-goer he attributed his introduction to cinema to a reading of Malraux's essay Outline of a Psychology of Cinema, and his reading of La Revue du cinéma, which was relaunched in 1946.[18] In 1946 he went to study at the Lycée Buffon in Paris and, through family connections, mixed with members of its cultural elite. He lodged with the writer Jean Schlumberger. Having failed his baccalaureate exam in 1948 he returned to Switzerland. He studied in Lausanne and lived with his parents, whose marriage was fracturing. He spent time in Geneva also with a group that included another film fanatic, Roland Tolmatchoff, and the extreme rightist philosopher w:fr:Jean Parvulesco. His older sister Rachel encouraged him to paint, which he did, in an abstract style. After time spent at a boarding school in Thonon to prepare for the retest, which he passed, he returned to Paris in 1949.[19] He registered for a certificate in anthropology at the University of Paris (Sorbonne), but did not attend class.[20] He got involved with the young group of film critics at the ciné-clubs that started the New Wave. Godard originally only held French citizenship, when he then in 1953 became a citizen of Gland, canton of Vaud, Switzerland possibly through simplified naturalisation through his Swiss father.
Film criticism
In Paris, in the Latin Quarter just prior to 1950, ciné-clubs (film societies) were gaining prominence. Godard began attending these clubs - the Cinémathèque, the CCQL , Work and Culture ciné Club, and others, became his regular haunts. The Cinémathèque had been founded by Henri Langlois and Georges Franju in 1936; Work and Culture was a workers' education group for which André Bazin had organized wartime film screenings and discussions and which had become a model for the film clubs that had risen throughout France after the Liberation; Ciné-Club du Quartier Latin (CCQL), founded 1947-48, was animated and intellectually led by Maurice Schérer.[21] At these clubs he met fellow film enthusiasts including Jacques Rivette, Claude Chabrol, François Truffaut, Jacques Rozier, and Jacques Demy.[22] Godard was part of a generation for whom cinema took on a special importance. He has said: "In the 1950s cinema was as important as bread – but it isn't the case any more. We thought cinema would assert itself as an instrument of knowledge, a microscope ... a telescope.... At the Cinémathèque I discovered a world which nobody had spoken to me about. They'd told us about Goethe, but not Dreyer. ... We watched silent films in the era of talkies. We dreamed about film. We were like Christians in the catacombs."[23]
His foray into films began in the field of criticism. Along with Maurice Schérer (writing under the to-be-famous pseudonym Éric Rohmer) and Rivette, he founded the short-lived film journal, Gazette du cinéma, which saw publication of five issues in 1950.[24] When Bazin co-founded the influential critical magazine Cahiers du cinéma in 1951, Godard was the first of the younger critics from the CCQL/Cinémathèque group to be published - the January 1952 issue featured his review of an American melodrama directed by Rudolph Maté, No Sad Songs for Me. His "Defence and Illustration of Classical Découpage" published in September 1952, in which he attacks an earlier article by Bazin and defends the use of the shot-reverse shot technique, is one of his earliest important contributions to cinema.[25] Praising Otto Preminger and, "the greatest American artist - Howard Hawks," Godard raises their harsh melodramas above the more 'formalistic and overtly artful films of Welles, De Sica and Wyler which Bazin endorsed." [26] At this point Godard's activities did not include making films - rather he watched films, and wrote about them, and helped others make films, notably Rohmer, with whom he worked on w:fr:Présentation ou Charlotte et son steak.[27]
Early filmmaking
Having left Paris in the autumn of 1952 Godard returned to Switzerland and went to live with his mother in Lausanne. He became friendly with his mother's lover , Jean-Pierre Laubscher, who was a labourer on the Grande Dixence Dam. Through Laubscher he secured work himself as a construction worker, at the Plaz Fleuri work site at the dam. He saw the possibility of making a documentary film about the dam and when his initial contract ended, in order to prolong his time at the dam, moved to the post of telephone switchboard operator. It was whilst on duty, in April 1954, that he put through a call to Laubscher that relayed the fact that Odile Monod, his mother, had died in a scooter accident. Thanks to Swiss friends who lent him a 35mm movie camera he was able to shoot on 35mm film. He rewrote the commentary that Laubscher had written , and gave his film a rhyming title Opération béton (Operation concrete). The company that administered the dam bought the film and used it for publicity purposes. [28]
As he continued to work for Cahiers, he made Une femme coquette (1955), in Geneva, a ten-minute short, and in January 1956 returned to Paris. A plan for a feature film of Goethe's Elective Affinities proved too ambitious and came to nothing. Truffaut enlisted his help to work on an idea he had for a film based on the true-crime story of a petty criminal, Michel Portail, who had shot a motorcycle policeman and whose girlfriend had turned him in to the police. But Truffaut failed to interest any producers. Another project with Truffaut, a comedy about a country girl arriving in Paris, was also abandoned.[29] He worked with Rohmer on a planned series of short films centring around the lives of two young women, Charlotte and Véronique, and in the autumn of 1957 Pierre Braunberger produced the first film in the series, All the Boys Are Named Patrick, directed by Godard from Rohmer's script. Une histoire d'eau (1958), was created largely out of unused footage shot by Truffaut. In 1958 Godard, with a cast that included Jean-Paul Belmondo and Anne Colette, made his last short before gaining international prominence as a filmmaker, Charlotte et son Jules, a homage to Jean Cocteau. The film was shot in Godard's hotel room on the rue de Rennes and apparently reflected something of the 'romantic austerity' of Godards own life at this time. His Swiss friend Roland Tolmatchoff noted; "In Paris he had a big Bogart poster on the wall and nothing else." [30]
Cinematic period
Godard's most celebrated period as a filmmaker is roughly from his first feature, Breathless (1960), through to Week End (1967). His work during this period focused on relatively conventional films that often refer to different aspects of film history. Although Godard's work during this time is considered groundbreaking in its own right, the period stands in contrast to that which immediately followed it, during which Godard ideologically denounced much of cinema's history as "bourgeois" and therefore without merit.
Godard viewed film making as an extension of criticism and was more interested in redefining film structure and style than actually being understood by the public. Often his movies were more about the presentation of a story than anything else. The stories in his films were very simple yet unfocused and constantly digressing from the main story line (Jean-Luc Godard and Vivre Sa Vie by Tom Milne, 1962).
From the beginning of his career, Godard included more film references into his movies than any of his New Wave colleagues. In Breathless, his citations include a movie poster showing Humphrey Bogart (whose expression the lead actor Jean-Paul Belmondo tries reverently to imitate); visual quotations from films of Ingmar Bergman, Samuel Fuller, Fritz Lang, and others; and an onscreen dedication to Monogram Pictures, an American B-movie studio. Most of all, the choice of Jean Seberg as the lead actress was an overarching reference to Otto Preminger, who had discovered her for his Saint Joan, and then cast her in his acidulous 1958 adaptation of Bonjour Tristesse. If, in Rohmer's words, "life was the cinema", then a film filled with movie references was supremely autobiographical.
The following year, Godard made Le Petit Soldat (The Little Soldier), which dealt with the Algerian War of Independence. Most notably, it was the first collaboration between Godard and Danish-born actress Anna Karina, whom he later married in 1961 (and divorced in 1967). The film, due to its political nature, was banned by the French government until January 1963. Karina appeared again, along with Belmondo, in Godard's first color film, A Woman Is a Woman (1961), which was intended as a homage to the American musical.
Godard's next film, Vivre sa vie (My Life to Live) (1962), was one of his most popular among critics. Karina starred as Nana, an errant mother and aspiring actress whose financially strained circumstances lead her to the life of a streetwalker. It is an episodic account of her rationalizations to prove she is free, even though she is tethered at the end of her pimp's short leash. In one touching scene in a cafe, she spreads her arms out and announces she is free to raise or lower them as she wishes.
Les Carabiniers (1963) was about the horror of war and its inherent injustice. It was the influence and suggestion of Roberto Rossellini that led Godard to make the film. It follows two peasants who join the army of a king, only to find futility in the whole thing as the king reveals the deception of war-administrating leaders.
His most commercially successful film was Le Mépris (Contempt) (1963), starring Michel Piccoli and one of France's biggest female stars, Brigitte Bardot. A coproduction between Italy and France, Contempt became known as a pinnacle in cinematic modernism with its profound reflexivity. The film follows Paul (Piccoli), a screenwriter who is commissioned by the arrogant American movie producer Prokosch (Jack Palance) to rewrite the script for an adaptation of Homer's Odyssey, which the Austrian director Fritz Lang has been filming. Lang's 'high culture' interpretation of the story is lost on Prokosch, whose character is a firm indictment of the commercial motion picture hierarchy. Another prominent theme is the inability to reconcile love and labor, which is illustrated by Paul's crumbling marriage to Camille (Bardot) during the course of shooting.
In 1964, Godard and Karina formed a production company, Anouchka Films. He directed Bande à part (Band of Outsiders), another collaboration between the two and described by Godard as "Alice in Wonderland meets Franz Kafka." It follows two young men, looking to score on a heist, who both fall in love with Karina, and quotes from several gangster film conventions.
Une femme mariée (A Married Woman) (1964) followed Band of Outsiders. It was a slow, deliberate, toned-down black and white picture without a real story. The film was entirely produced over the period of one month and exhibited a loose quality unique to Godard. Godard made the film while he acquired funding for Pierrot le fou (1965).
In 1965, Godard directed Alphaville, a futuristic blend of science fiction, film noir, and satire. Eddie Constantine starred as Lemmy Caution, a detective who is sent into a city controlled by a giant computer named Alpha 60. His mission is to make contact with Professor von Braun (Howard Vernon), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer. Pierrot le fou (1965) featured a complex storyline, distinctive personalities, and a violent ending. Gilles Jacob, an author, critic, and president of the Cannes Film Festival, called it both a "retrospective" and recapitulation in the way it played on so many of Godard's earlier characters and themes. With an extensive cast and variety of locations, the film was expensive enough to warrant significant problems with funding. Shot in color, it departed from Godard's minimalist works (typified by Breathless, Vivre sa vie, and Une femme mariée). He solicited the participation of Jean-Paul Belmondo, by then a famous actor, in order to guarantee the necessary amount of capital.
Masculin, féminin (1966), based on two Guy de Maupassant stories, La Femme de Paul and Le Signe, was a study of contemporary French youth and their involvement with cultural politics. An intertitle refers to the characters as "The children of Marx and Coca-Cola." Although Godard's cinema is sometimes thought to depict a wholly masculine point of view, Phillip John Usher has demonstrated how the film, by the way it connects images and disparate events, seems to blur gender lines.[31]
Godard followed with Made in U.S.A (1966), whose source material was Richard Stark's The Jugger; and Two or Three Things I Know About Her (1967), in which Marina Vlady portrays a woman leading a double life as housewife and prostitute. A Classic New Wave crime thiller, "Made in the U.S.A" is inspired by American Noir films. Anna Karina stars as the anti-hero searching for her murdered lover; includes a cameo by Marianne Faithfull.
La Chinoise (1967) saw Godard at his most politically forthright so far. The film focused on a group of students and engaged with the ideas coming out of the student activist groups in contemporary France. Released just before the May 1968 events, the film is thought by some to foreshadow the student rebellions that took place.
That same year, Godard made a more colorful and political film, Week End. It follows a Parisian couple as they leave on a weekend trip across the French countryside to collect an inheritance. What ensues is a confrontation with the tragic flaws of the over-consuming bourgeoisie. The film contains some of the most written-about scenes in cinema's history. One of them, an eight-minute tracking shot of the couple stuck in an unremitting traffic jam as they leave the city, is cited as a new technique Godard used to deconstruct bourgeois trends.[32] Startlingly, a few shots contain extra footage from, as it were, before the beginning of the take (while the actors are preparing) and after the end of the take (while the actors are coming out of character). Week End's enigmatic and audacious end title sequence, which reads "End of Cinema", appropriately marked an end to the narrative and cinematic period in Godard's filmmaking career.
Politics
Politics are never far from the surface in Godard's films. One of his earliest features, Le Petit Soldat, dealt with the Algerian War of Independence, and was notable for its attempt to present the complexity of the dispute rather than pursue any specific ideological agenda. Along these lines, Les Carabiniers presents a fictional war that is initially romanticized in the way its characters approach their service, but becomes a stiff anti-war metonym. In addition to the international conflicts Godard sought an artistic response to, he was also very concerned with the social problems in France. The earliest and best example of this is Karina's potent portrayal of a prostitute in Vivre sa vie.
In 1960s Paris, the political milieu was not overwhelmed by one specific movement. There was, however, a distinct post-war climate shaped by various international conflicts such as the colonialism in North Africa and Southeast Asia. The side that opposed such colonization included the majority of French workers, who belonged to the French communist party, and the Parisian artists and writers who positioned themselves on the side of social reform and class equality. A large portion of this group had a particular affinity for the teachings of Karl Marx. Godard's Marxist disposition did not become abundantly explicit until La Chinoise and Week End, but is evident in several films — namely Pierrot and Une femme mariée.
Godard has been accused by some of harboring anti-Semitic views: in 2010, in the lead-up to the presentation of Godard's honorary Oscar, a prominent article in the New York Times by Michael Cieply drew attention to the idea, which had been circulating through press in previous weeks, that Godard might be an anti-Semite, and thus undeserving of the accolade. Cieply makes reference to Richard Brody's book, "Everything is Cinema: The Working Life of Jean-Luc Godard", and alluded to a previous, longer article published by the Jewish Journal as lying near the origin of the debate.[33] The article also draws upon Brody's book, for example in the following quotation, which Godard made on television in 1981: "Moses is my principal enemy...Moses, when he received the commandments, he saw images and translated them. Then he brought the texts, he didn't show what he had seen. That's why the Jewish people are accursed."[34] Immediately after Cieply's article was published, Brody made a clear point of criticizing the "extremely selective and narrow use" of passages in his book, and noted that Godard's work has approached the Holocaust with "the greatest moral seriousness".[35] Indeed, his documentaries feature images from the Holocaust in a context suggesting he considers Nazism and the Holocaust as the nadir of human history. Godard's views become more complex regarding the State of Israel. In 1970, Godard traveled to the Middle East to make an pro-Palestinian film he didn't complete and whose footage eventually became part of the 1976 film Ici et ailleurs. In this film, Godard seems to view the Palestinian cause as one of many worldwide Leftist revolutionary movements. Elsewhere, Godard has explicitly identified himself as an anti-Zionist but has denied the accusations of anti-Semitism.[36]
Vietnam War
Godard produced several pieces that directly address the Vietnam War. Furthermore, there are two scenes in Pierrot le fou that tackle the issue. The first is a scene that takes place in the initial car ride between Ferdinand (Belmondo) and Marianne (Karina). Over the car radio, the two hear the message "garrison massacred by the Viet Cong who lost 115 men". Marianne responds with an extended musing on the way the radio dehumanizes the Northern Vietnamese combatants.
In the same film, the lovers accost a group of American sailors along the course of their liberating crime spree. Their immediate reaction, expressed by Marianne, is "Damn Americans!" an obvious outlet of the frustration so many French communists felt towards American hegemony. Ferdinand then reconsiders, "That's OK, we’ll change our politics. We can put on a play. Maybe they’ll give us some dollars." Marianne is puzzled but Ferdinand suggests that something the Americans would like would be the Vietnam War. The ensuing sequence is a makeshift play where Marianne dresses up as a stereotype Vietnamese woman and Ferdinand as an American sailor. The scene ends on a brief shot revealing a chalk message left on the floor by the pair, "Long live Mao!" (Vive Mao!).
Godard's engagement with German poet and playwright Bertolt Brecht stems primarily from his attempt to transpose Brecht's theory of epic theatre and its prospect of alienating the viewer (Verfremdungseffekt) through a radical separation of the elements of the medium (in Brecht's case theater, but in Godard's, film). Brecht's influence is keenly felt through much of Godard's work, particularly before 1980, when Godard used filmic expression for specific political ends.
For example, Breathless' elliptical editing, which denies the viewer a fluid narrative typical of mainstream cinema, forces the viewers to take on more critical roles, connecting the pieces themselves and coming away with more investment in the work's content. [citation needed] Godard also employs other devices, including asynchronous sound and alarming title frames, with perhaps his favorite being the character aside. In many of his most political pieces, specifically Week End, Pierrot le fou, and La Chinoise, characters address the audience with thoughts, feelings, and instructions.
A Marxist reading is possible with most if not all of Godard's early work. Godard's direct interaction with Marxism does not become explicitly apparent, however, until Week End, where the name Karl Marx is cited in conjunction with figures such as Jesus Christ. A constant refrain throughout Godard's cinematic period is that of the bourgeoisie's consumerism, the commodification of daily life and activity, and man's alienation — all central features of Marx's critique of capitalism.
In an essay on Godard, philosopher and aesthetics scholar Jacques Rancière states, "When in Pierrot le fou, 1965, a film without a clear political message, Belmondo played on the word 'scandal' and the 'freedom' that the Scandal girdle supposedly offered women, the context of a Marxist critique of commodification, of pop art derision at consumerism, and of a feminist denunciation of women's false 'liberation', was enough to foster a dialectical reading of the joke and the whole story." The way Godard treated politics in his cinematic period was in the context of a joke, a piece of art, or a relationship, presented to be used as tools of reference, romanticizing the Marxist rhetoric, rather than solely being tools of education.
Une femme mariée is also structured around Marx's concept of commodity fetishism. Godard once said that it is "a film in which individuals are considered as things, in which chases in a taxi alternate with ethological interviews, in which the spectacle of life is intermingled with its analysis". He was very conscious of the way he wished to portray the human being. His efforts are overtly characteristic of Marx, who in his Economic and Philosophical Manuscripts of 1844 gives one of his most nuanced elaborations, analyzing how the worker is alienated from his product, the object of his productive activity. Georges Sadoul, in his short rumination on the film, describes it as a "sociological study of the alienation of the modern woman".
Revolutionary period
The period that spans from May 1968 indistinctly into the 1970s has been subject to an even larger volume of varying labeling. They include everything from his "militant" period, to his "radical" period, along with terms as specific as "Maoist" and vague as "political". The period saw Godard align himself with a specific revolution and employ a consistent revolutionary rhetoric.
Films
Amid the upheavals of the late 1960s Godard became interested in Maoist ideology. He formed the socialist-idealist Dziga-Vertov cinema group with Jean-Pierre Gorin and produced a number of shorts outlining his politics. In that period he travelled extensively and shot a number of films, most of which remained unfinished or were refused showings. His films became intensely politicized and experimental, a phase that lasted until 1980.
According to Elliott Gould, he and Godard met to discuss the possibility of Godard directing Jules Feiffer's 1971 surrealist play Little Murders. During this meeting Godard said his two favorite American writers were Feiffer and Charles M. Schulz. Godard soon declined the opportunity to direct; the job later went to Alan Arkin.[citation needed]
Jean-Pierre Gorin
After the events of May 1968, when the city of Paris saw total upheaval in response to the "authoritarian de Gaulle republic", and Godard's professional objective was reconsidered, he began to collaborate with like-minded individuals in the filmmaking arena. The most notable of these collaborations was with a young Maoist student, Jean-Pierre Gorin, who displayed a passion for cinema that grabbed Godard's attention.
Between 1968 and 1973, Godard and Gorin collaborated to make a total of five films with strong Maoist messages. The most prominent film from the collaboration was Tout va bien, which starred Jane Fonda and Yves Montand, at the time very big stars. Jean-Pierre Gorin now teaches the study of film at the University of California, San Diego.
The Dziga Vertov group
The small group of Maoists that Godard had brought together, which included Gorin, adopted the name Dziga Vertov Group. Godard had a specific interest in Vertov, a Soviet filmmaker—whose adopted name is derived from the verb to spin or rotate[37] and is best remembered for Man with the Movie Camera (1929) and a contemporary of both the great Soviet montage theorists, most notably Sergei Eisenstein, and Russian constructivist and avant-garde artists such as Alexander Rodchenko and Vladimir Tatlin. Part of Godard's political shift after May 1968 was toward a proactive participation in the class struggle.
Sonimage
In 1972, Godard and Swiss filmmaker Anne-Marie Miéville started the alternative video production and distribution company Sonimage, based in Grenoble.[38] Under Sonimage, Godard produced both Numéro Deux (1975) and "Sauve qui peut (la vie)" (1980). In 1976, Godard and Miéville, his wife,[39] collaborated on a series of innovative video works for European broadcast television called "Six fois deux/Sur et sous la communication" (1976)[40] and "France/tour/détour/deux/enfants" (1978).
His return to somewhat more traditional fiction was marked with Sauve qui peut (la vie) (1980), the first of a series of more mainstream films marked by autobiographical currents: for example Passion (1982), Lettre à Freddy Buache (1982), Prénom Carmen (1984), and Grandeur et décadence (1986). There was, though, another flurry of controversy with Je vous salue, Marie (1985), which was condemned by the Catholic Church for alleged heresy, and also with King Lear (1987), an extraordinary but much-excoriated essay on William Shakespeare and language. Also completed in 1987 was a segment in the film ARIA which was based loosely from the plot of Armide; it is set in a gym and uses several arias by Jean-Baptiste Lully from his famous Armide.
His later films have been marked by great formal beauty and frequently a sense of requiem — Nouvelle Vague (New Wave, 1990), the autobiographical JLG/JLG, autoportrait de décembre (JLG/JLG: Self-Portrait in December, 1995), and For Ever Mozart (1996). Allemagne année 90 neuf zéro (Germany Year 90 Nine Zero, 1991) was a quasi-sequel to Alphaville but done with an elegiac tone and focus on the inevitable decay of age. Between 1988 and 1998 he produced perhaps the most important work of his career in the multi-part series Histoire(s) du cinéma, a monumental project which combined all the innovations of his video work with a passionate engagement in the issues of twentieth-century history and the history of film itself.
2000–present
Godard has continued to work actively into his seventies. In 2001, Eloge de l'Amour (In Praise of Love) was released. This film is notable for its use of both film and video – the first half captured in 35 mm black and white, the latter half shot in color on DV – and subsequently transferred to film for editing. The blending of film and video recalls the statement from Sauve Qui Peut, in which the tension between film and video evokes the struggle between Cain and Abel. Eloge de l'Amour is rich with themes of aging, love, separation, and rediscovery as we follow the young artist Edgar contemplating a new work on the four stages of love (should it be an opera? a film?). He meets up with a lost love who is terminally ill, and at her death we are thrust into the second half of the film where Edgar meets with her at her grandparent's house two years before. Producers for Steven Spielberg are negotiating the purchase of her grandparent's World War II story; the young woman attempts to stall the deal.
He is rumored to be considering directing a film adaptation of Daniel Mendelsohn's The Lost: A Search for Six of Six Million, an award-winning book about the Holocaust.[43]
His next feature film is called Adieu au Language(Farewell to Language) and was shot in 3-D.[44][45] The film revolves around a couple who cannot communicate with each other until their pet dog acts as an interpreter for them. In 2013 he also contributed a short called Les trois désastres (The Three Disasters) to the omnibus film 3X3D with filmmakers Peter Greenaway and Edgar Pera.[46]3X3D premiered at the 2013 Cannes Film Festival.[47]
Tributes
" From Hollywood to the Third World, from the mainstream to the Avant-Garde, Godard's name is perhaps the only one that occurs wherever cinema is discussed or produced." – Colin Myles MacCabe
" Like Picasso, Godard reveals to us throughout his work his world as source and subject; the artist's studio, the objects of his daily life, the references to and repetitions of his own works, the layering of words and images, the women he has loved, the horrors of war." – Mary Lea Bandy.
" Godard's is an art of plastic age, of fluent, pliable, putty characters." – Raymond Durgnat
" Godard's importance lies in his development of an authentic modernist cinema in opposition to (though, during the early period, at the same time within) mainstream cinema: it is with his work that film becomes central to our century's major aesthetic debate, the controversy developed through such figures as Lukacs, Brecht, Benjamin and Adorno as to whether realism or modernism is the more progressive form." –Robin Wood.
^Moullet, Luc (2005). "Jean-Luc Godard". In Jim Hillier (ed.). Cahiers du cinéma: 1960–1968. New Wave, New Cinema, Re-evaluating Hollywood. Vol. 2. Milton Park, Oxford, UK: Routledge. pp. 35–48. ISBN0-415-15106-6. Retrieved 28 September 2011.
Steritt, David. (1998) Jean-Luc Godard: Interviews. Jackson, Mississippi: University Press of Mississippi.
Usher, Phillip John. (2009). "De sexe incertain: Masculin, Féminin de Godard". French Forum, vol. 34, no 2, p. 97-112.
Further reading
Godard, Jean-Luc. 2012 Introduction to a True History of Cinema and Television. Montreal: caboose. ISBN 978-0-9811914-1-6
Brody, Richard. 2008. Everything is Cinema: The Working Life of Jean-Luc Godard. ISBN 978-0-8050-6886-3
Temple, Michael. Williams, James S. Witt, Michael. (eds) 2007. For Ever Godard. London: Black Dog Publishing
Dixon, Wheeler Winston. The Films of Jean-Luc Godard. Albany: State University of New York Press, 1997.
Godard, Jean-Luc: The Future(s) of Film. Three Interviews 2000/01. Bern — Berlin: Verlag Gachnang & Springer, 2002. ISBN 978-3-906127-62-0
Loshitzky, Yosefa. The Radical Faces of Godard and Bertolucci.
Silverman, Kaja and Farocki, Harun. 1998. Speaking About Godard. New York: New York University Press.
Temple, Michael and Williams, James S. (eds). 2000. The Cinema alone: Essays on the Work of Jean-Luc Godard 1985–2000. Amsterdam: Amsterdam University Press.
Almeida, Jane. Dziga Vertov Group. São Paulo: witz, 2005. ISBN 85-98100-05-6.
Nicole Brenez, David Faroult, Michael Temple, James E. Williams, Michael Witt (eds), Jean-Luc Godard:Documents, Paris: Centre Georges Pompidou, 2007
Diane Stevenson, "Godard and Bazin" in the Andre Bazin special issue, Jeffrey Crouse (ed.), Film International, Issue 30, Vol. 5, No. 6, 2007, pp. 32–40.
Intxauspe, J.M. 2013: Film Socialisme: Quo vadis Europa, hAUSnART, 3: 94-99
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