"Pop Cinema: Jean-Luc Godard’s Pierrot le fou" (2024)

France on film: reflections on popular French cinema

Wallflower Press eBooks, 2001

“Film Scholarship and the 50th Anniversary of the French New Wave.”

The London Film and Media Reader , 2013

Reinventing the everyday in the age of spectacle: Jean-Luc Godard’s artistic and political response to modernity in his early works, Studies in French Cinema 15.2: 123-137, 2015

Studies in French Cinema , 2015

(Post-Print allowed by Publisher uploaded OR ask for a copy) Godard’s films prior to 1968 are usually received as pure experimentations of style, as if these films were little more than art-historical examples of a certain kind of avant-garde cinema. The author argues instead that Godard’s often frenzied cinematic experimentations in his early movies may be understood as reflections on the political, cultural and historical issues of France in the 1950s and 60s. In his early films, Godard engages the political and aesthetic strategy of much of French philosophy and avant-garde: the playful and often self-contradictory project of resisting the spectacles of modernity, while transforming the everyday. The author contends that this project constitutes what Jameson calls the political unconscious of Godard’s early work. To sketch this unconscious, the author refers to the larger context in which philosophers, cultural critics and filmmakers take issue with notions of the everyday, spectacle, style, resistance, festivity, consumerism, as well as with the signs of postwar modernity such as cars, modern households, traffic, polls and movies.

The French New Wave, New Hollywood, and the role of Post Modernism.

The following paper is a comparative study of the French Nouvelle Vague and its subsequent influences on the cinema of New Hollywood during the 1970's based around the artistic and cultural ideologies of Postmodernism as expressed in the works of Frederic Jameson's Postermodernism in Consumer Society and Postmodernism, Or the Cultural Logic of Late Capitalism. I will be exploring the cultural and socio-political parallels between the evolution of the two movements and their reflections of new cinematic conventions and ideologies such as auteur theory and visual experimentation looking in particular at the films and culture of French Cinema from 1954 to 1968 and American cinema from 1967 to 1983. In this respect I will be drawing on comparative textual examples from Arthur Penn's Bonnie and Clyde (1967) Martin Scorsese's Mean Streets (1973) and Jean Luc Godard's A Bout de Souffle (1960) and exploring the common reciprocations in each piece of work comparing them in a broader ideological framework as productions and representations of an artistic culture and post modernist trend. I will also place an emphasis on the philosophies and ideologies expressed by key French film writers Alexandre Astruc in 1948 with his essay on the birth of the new Avante Garde: La Camera Stylo , and later in Cahiers du Cinema by the philosophies of Francois Truffaut and Andre Bazin and how these ideas were reflected in the films of the French New Wave and subsequently later in the films of New Hollywood. The main argument of the dissertation as such will examine this cultural exchange and enduring cinematic legacy of both film cultures by exploring the recurring narrative and character motifs in both to deem whether they can be defined as deriving from Post modernist ideologies.

Jean-Luc Godard: Making Cinema on the Page

Writings, images and "l'adieu au langage" that doesn't come : https://www.sensesofcinema.com/2022/forms-that-think-jean-luc-godard/jean-luc-godard-making-cinema-on-the-page/ Senses of cinema, n°100, January 2022, special issue "Forms that think: Jean-Luc Godard".

Michel Regnier's 'Films-Outil'

Challenge for Change: Activist Documentary at the National Film Board of Canada. Eds. Ezra Winton, Michael Baker and Tom Waugh. Montreal & Kingston: McGill-Queens University Press., 2010

The Parisian Avant-Garde in the Age of Cinema, 1900–1923 by Jennifer Wild

Modernism/modernity, 2018

Thirty years of doctoral theses on French cinema

Studies in French Cinema, 2003

Experimental Conversations, 2009

How did Godard, Garrel, Carax and other post-nouvelle vague auteurs co-opt American pop music into their 80s and 90s films?

Jean-Luc Godard and the Dilemma of Postcolonial Cinema

Journal of Modern Art History, University of Belgrade ( Zbornik Seminara za studije moderne umetnosti Filozofskog fakulteta u Beogradu. - ISSN 2217-3951. - Br. 10 (2014), str. 9-30., 2014

If “every tracking shot is a moral act,” as Jean-Luc Godard has once remarked, then filmmaking in the aftermath of colonialism must have posed numerous challenges to a fresh offbeat Nouvelle Vague director like himself. How is filmmaking possible after colonialism? What needs to be changed, salvaged, ridiculed? How does technique work thematically and content stylistically to “track,” with candid morality, the state of art and politics in postcolonial France? This is what this papers about. Key words: A Bout de Souffle (Breathless), Theodor Adorno, French Colonial Algeria, Colonialism, Bretolt Brecht , le cinéma de papa, Postcolonial Studies, Fin de cinema, Frantz Fanon, Jean-Luc Godard, La Nouvelle Vague/ French New Wave, Le Mepris (Contempt), Verfremdungseffekt (Defamiliarization, Estrangement Effect)