It can truly be said that nothing cultural is alien to him. Drawing on his own working experience with Godard and his coterie, Colin MacCabe, in this first biography of the director, has written a thrilling account of the French cinema's transformation in the hands of Truffaut, Rohmer, Rivette, and Chabrol--critics who toppled the old aesthetics by becoming, legendarily, directors themselves--and Godard's determination to make cinema the greatest of the arts. Jean-Luc Godard's early films revolutionized the language of cinema. McCabe is very knowledgeable about the subject. Copyright 2003 Reed Business Information, Inc.
MacCabe is blessed with intimate knowledge both personally and professionally of Godard, and doesn't hesitate to demonstrate this. . Fortunately enough, this bio contains a balanced amount of theory and biographical entertainment. Although he discusses gender difference in the audience, he never supposes that gender makes a difference in interpreting ï¬lms. MacCabe vividly recreates the social and political turmoil of post-war France in which Godard came of age, moves fluidly from the theoretical to the personal, and captures at once the essence of the Nouvelle Vague and the particularity of individual films. Description: xiv, 432 pages : illustrations ; 24 cm Contents: Gods and demi-gods: The Monods and the Godards -- 'The cinema is not a bad school': Andre Bazin abd the Cahiers du cinema -- A certain tendency of French film production: The new wave of Karina and Coutard -- Student revolution: Wiazemsky and Gorin --The Arriere-Boutique: Anne-Marie Mieville and Rolle -- Envoi.
I would thus recommend everyone read both. A few nights on the beach at Copacabana and a pathetic failure to raise money as a homosexual prostitute were the prelude to a return to Switzerland and Paris, where Godard contributed to the first issues of Cahiers du Cinéma. Besides, anyone interested in late Godard is probably willing to delve into the particular polemics that MacCabe examines. From 1968 to 1972, Europe's greatest director worked in the service of Maoist politics, and continued thereafter to experiment on the far peripheries of the medium he had transformed. There is also the unquestionable significance of Bazin's influence on what Godard's filmmaking seemed to grow into; an adventurous filmic elaboration of the concept of Bazin's ontology of cinema I know, stay with me here , which deals with the capability that film has of documenting the reality of fictional narratives.
It is difficult to articulate the bliss I have found in this project of reading four books on the auteur and spending dozens of hours watching and rewatching his films. The former British Film Institute head of research, MacCabe has collaborated with Godard and has firsthand experience of Godard's methods, politics and aesthetics, as well as of the man himself. His extraordinary later works are little seen or appreciated, yet he remains one of Europe's most influential artists. His second film, Le Petit Soldat, was one of the worst performing films at the time. As a survey of Godard's complete body of work, this book of MacCabe's has been rather superseded by At the turn of the millennium, Jean-Luc Godard had turned seventy years old. This must have been an extremely difficult book to research and write, and we all owe the author our gratitude for having seen it through to the end.
Unlike Truffaut, who, let's face it, didn't really stay true to the essence of what made French New-Wave filmmaking so innovative and revolutionary, Godard pushed the limits of the medium, and with the aid of his more ingenious contemporaries such as Resnais, Marker, Varda, and Rohmer, replaced the dry, mechanical adaptations that were making French cinema so stagnant and bourgeois, with films that seemed unlike anything that the world of cinema had produced before. To mangle Polonius, here is a cultural-social-political study, or a historical-psychological-personal one, a mosaic made up of life, art, and the forces that have shaped both. Which is sort of a problem for this book, as it's unlikely that most American audiences have seen half of the Godard films that MacCabe cites, especially every installation of his Histoire du Cinema, which is by no means an easy piece of media for one to get one's hands on. MacCabe's account of the Nouvelle Vague 's theoretical formation via the journal Cahiers du Cinéma , which brought eventual directors Godard, Truffaut, Rivette, Rohmer and Chabrol under the ideological sway of critic André Bazin, is superb and worth the price of admission alone. Nonetheless, I found this a very readable book, not at all dry or dull. About this Item: Farrar, Straus and Giroux, United States, 2005. Jean-Luc Godard's early films revolutionized the language of cinema.
Then we move on to film history — in particular, the peculiar industrial conditions that sustained Nouvelle Vague mavericks like Godard, François Truffaut and Jacques Rivette in the 1960s. MacCabe, who has written interesting books on Warhol and Nicolas Roeg, explicates the progression of a great artist from enfant terrible to a man most think has died. In the horror chapter, Lyden uses the concept of the âï¬nal girlâ to defend these ï¬lms against charges of misogyny, but fails to mention Carol Clover in either the chapter or its footnotes. This book, however, is founded on the premise that Jean-Luc Godard a co-founder of the French New Wave is a film artist of unprecedented importance. Even if it could be argued that his films aren't, which, actually, many of them aren't, his personal life was not kind to the opposite sex, and to a degree he clearly hated most of the women that he was with. Of course, this is a film director that we're talking about here, few if any, are really the most compassionate people in the world when it comes down to it. Most recently he is the author and producer, respectively, of The Eloquence of the Vulgar and Badassss.
Great coverage of the early years. Even if one agrees with Lyden that melodramas help women work out issues of power, is the same issue of power being worked out by both white and black women watching Douglas Sirkâs Imitation of Life? Godard: A Portrait of the Artist at Seventy Godard: A Portrait of the Artist at Seventy 2005-07-01 00:00:00 guing instead that they are texts which women negotiate in complicated ways, Lyden fails to reference the work of Mary Ann Doane, E. MacCabe ends with apocalyptic warnings about cinema's destruction along with the world's , but the vein of elegiac, uncompromising resistance that pervades Godard's work is present here, as is its beauty. We are never able to follow any single line all the way through. From 1968 to 1972, Europe's greatest director worked in the service of Maoist politics, and continued thereafter to experiment on the far peripheries of the medium he had transformed. First Edition - may be Reissue. Jean-Luc Godard's early films revolutionized the language of cinema.
About this Item: Farrar, Straus and Giroux, 2005. About the time of May '60 and his marriage to Anne Wiazemsky - his Mao period - I lost interest. MacCabe shows himself as almost totally sympathetic yet not completely uncritical to a relatively unpleasant subject. About the Author: Colin MacCabe is Distinguished Professor of English and Film at the University of Pittsburgh; teaches at the University of Essex; and serves as the Chairman of the London Consortium, of which he was a founder. And that he stresses the importance of his relationship with both Bazin and Henri Langlois is definitely the sign of an author who understands Godard and who he remained faithful to in a filmmaking sense. The first, glad morning of Godard's filmmaking was based on this faith in commercial films. A Certain Tendency of French Film Production: The New Wave of Karina and Coutard -- 4.
The E-mail message field is required. Here, in a small town near the director's birthplace, they have spent the last thirty years creating singly or together films, videos, and documentaries of increasing richness and difficulty. Drawing on his own working experience with Godard and his coterie, Colin MacCabe, in this first biography of the director, has written a thrilling account of the French cinema's transformation in the hands of Truffaut, Rohmer, Rivette, and Chabrol--critics who toppled the old aesthetics by becoming, legendarily, directors themselves--and Godard's determination to make cinema the greatest of the arts. Wiazemsky was equally tormented by his mood swings and selfishness. Book is in Used-Good condition. For example, Godard was known to all of his intimate friends as a petty thief.