Jean-Luc Godard - SpeedyLook encyclopedia

Beginnings

After a Swiss schooling in and with Paris, Jean-Luc Godard is registered with the Sorbonne (in 1946) in Anthropologie, but attends the film clubs rather capital. He attends the cinemas of the Latin Quarter of Paris and valley of the friendly relations with André Bazin, Claude Chabrol, François Truffaut, Jacques Rivette and Eric Rohmer. Godard was one of the first signatures of the magazine the Gazette of the cinema founded by Rohmer. When André Bazin founds the Cahiers of the cinema in 1951, Godard, Rivette and Rohmer are among the first there to be written. (1)

First films

As much of criticisms of the Books of the cinema , Godard starts to be interested in the realization. Its first film, Operation concrete (1954), is documentary. In 1958, it turns Charlotte and her Jules (dedicated to Jean Cocteau). Always in 1958 François Truffaut turns during a true flood a water history , but is found with rushes that he judges unusable. Jean-Luc Godard recovers them and makes an assembly on which he adds a comment in voice-off. He in parallel continues his critical work with the Cahiers of the cinema and becomes a key figure of the New wave.

The producer Georges de Beauregard will misera on its first feature-length film;: Breathless in 1959, with Jean-Paul Belmondo and Jean Seberg and, in a furtive but noticed appearance, Jean-Pierre Melville. At the same time critical and public success, internationally recognized, this film becomes representative of the style of the New wave ( jump cuts , turning with the flight, improvisations is as many innovative irruptions in an art than Godard regarded as too engourdi by the Académisme). Its second success will be Vivre its life in 1962 with Anna Karina. The following year, it carries out the Police officers in homage to Jean Vigo. The Italian producer Carlo Ponti then entrusts to him the adaptation of the novel of Alberto Moravia the Contempt : Godard there sublimates Brigitte Bardot and pays a vibrating homage to Fritz Lang which plays its own part.

In 1964, Godard and Anna Karina - that he married in 1961 - found the production company Anouchka Films . In 1965, Godard turns Alphaville, a strange adventure of Lemmy Caution and Pierrot insane the . To the end of the year 1965, it turns Masculin, female with Jean-Pierre Léaud, Chantal Goya, Marlène Jobert and Brigitte Bardot which by contract still owed him a day of turning. About at the same time, Godard and Anna Karina divorce. In 1967, it marries the actress and future novelist Anne Wiazemsky, little girl of François Mauriac, which it makes turn in Chinese the , Sympathy for the Devil , the east Wind and the Merry Knowledge . In 1968, it is those which import the " Révolution" with the Cannes festival with Truffaut, Chabrol, Trunk…

He lives today with the director Anne-Marie Miéville.

Analyzes of work

Plays of put in abyme on the cinema

The cinema very often intervenes in its films in sets of settings in abymes. Examples: Detective where one sees a camera JVC which films. At one time it turns to the uncle (Terzieff), actually turning to the camera which films it: setting in abyme of two cameras (as in the opening of the Mistaken ).

Allusions to the video material: neon AGFA in Detective , VHS and the videoclub in Alas for me .

Characters:

goes to the cinema ( Vivre its life , female Masculin/, Pierrot insane the , the Police officers , Éloge of the love where a scene occurs to Space Saint-Michel)
make a film ( the Contempt , Passion , Prénom Carmen , For Ever Mozart )
speak about films, etc

Posters of other films appear sometimes. Examples: in Praise of the love , one sees the poster of Matrix . In the Contempt and 2 or 3 things , one see the poster of Vivre its life ).

References to film scenes

References to realizers: Dreyer for the Small Soldier (Anna Karina interprets the character of Veronika Dreyer; Veronika being also allusion to film of Bergman), Lubitsch in woman is woman ( Sérénade to three , plus the fact that Belmondo plays the part of a certain Alfred Lubitch), Mizoguchi in Made in the USA (the Japanese singer is called Doris Mizoguchi) and in All the boys are called Patrick (Brialy makes pretense of speaking Japanese, it says “Mizoguchi Kurosawa”). the Contempt is the Voyage in Italy of Godard. Presence of Gerard Blain in Charlotte and its Jules , of Jean-Pierre Melville in Breathless , of Fritz Lang in the Contempt , of Samuel Fuller in Pierrot insane the , Woody Allen in King Lear , of Jean-Luc Godard itself in Chinese the , First name Carmen , Looks after your line , King Lear and Our music .

The figure of the scenario writer is very present: in the Contempt it is Lang, in Pierrot insane the it is Fuller, in Chinese the it is itself, in All goes well it is Montand (which explicitly refers to the route of Godard), In Sauve which can (life) it is Dutronc, in Passion it is Djerzy, in Prénom Carmen it is him, in Soigne your line , King Lear and Our Music too.

Distance: The beginning of All is well is a reflection on the requirements with the production of a film (history, characters, financing, high-speed motorboats, etc). He films the clap indicating that Ca turns in Chinese the and in the Merry Knowledge . The characters speak about film. For example in the Merry Knowledge , Léaud says “finally it is a failure this film”, or Jean Yanne in Week-end “that made shit this film”. In Week end still, one sees a character ensanglanté to affirm “it is not blood it is red”.

In the opening of Detective , one sees image filmeds with the camera JVC. The image stops and retrogresses, showing that they are many image filmeds. The camera of Godard films the detectives filming, to view the images which they turn. The images should not be essential, they must be made forget with the profit of what they show: here, contrary, they appear like recorded images. The things disappear with the profit from their image.

Sets of references between films of Godard

In a woman is a woman , Belmondo speaks Breathless , Chantal Goya speaks about Pierrot insane the in Masculin/Féminin . Marie looks at the Contempt in the book of Marie . At the end of Detective , Léaud requires how it had money, it answers that it will not just like tell him, that it prefers still to die, “BB” answers Piccoli, which requires of him why it mistakes it: “that I you would never say it, even if I were to die”. All is well opens on a blazon, allusion to the opening of the Mépris . The second part of For ever Mozart , takes again the formula opening the Contempt in connection with the cinema making the world in conformity with our desires. In Alas for me , a character with the videoclub includes the formula of Belmondo in Breathless : “you remember it, and not you remember some”. Eddie Constantine, in Germany year nine zero , includes the formula of the Carabiniers : " a soldier greets a artiste". Its presence as a secret agent Lemmy Guarantee, already constitutes in oneself a reference with Alphaville .

Sauve which can (life)

Many plays of freeze frame, idles, jerked style (already present in France tower turning ) A pessimistic film, where the life is a kind of hell to be fled (safe which can!). All the characters are hateful, immoral, coarse, all hate themselves, shout themselves above, insult themselves, dispute, strike themselves. Sexuality is very present, especially not in a form in love and tender, because the world which gives to see Sauve which can (life) is a world without love and tenderness, but in its forms more deviating and perverse: zoophilie (the scene with the cows and the farm one), homosexuality (between Godard-Dutronc and a man of the hotel at the beginning of film, then Isabelle evokes also a love lesbian during the first scene of prostitution to the Hotel), the pedophilia and the inceste (Godard-Dutronc wants to see the centres of Cecile, asks a friend if it did not already want to fuck up the ass his own daughter, and during the first scene of Isabelle to the hotel, the customer asks him to play his daughter), and finally prostitution, topic already evoked in To live its Life , Alphaville and 2 or 3 things which I know of it . In the third part (trade), the prostitution is related on capitalism, the business world. The procurers evoke the bankers, only with being independent. The customers of Isabelle are each time owners (in the first case, it negotiates prices on the telephone, in the second case the scene takes place in the offices of the company, with a subordinate). Dutronc: he plays Godard, one finds the glasses and the cigar suitable for the style of Godard, as well as friendship with Duras. It is the beginning of the long series of the presence of the figure of the scenario writer in films of Godard: already Montand in All is Well , then Dutronc in Safe which can (life) , then Djerzy in Passion , then Godard decides to play this role which is it his (Montand evoked already a life, vis-a-vis the camera, which is that of Godard), in Prénom Carmen , then Soigne your line and King Lear . One still finds the figure of the scenario writer in the second part of For ever Mozart . Music: several character evoke a music, that the others do not hear. To Pierrot Insane the can be an allusion, where Devos hears a music that Belmondo does not hear. Four parts: three first each one being centered on a character of the Dutronc/Huppert/Baye trio: The imaginary one is centered on Baye, the fear is centered on Dutronc, the trade is centered on Huppert. The fourth part, the music, brings together the three characters. Structure similar to that of the Noise and the Fury of Faulkner, where there are four parts each one centered on a brother, told with the first nobody, then a fourth part with the third nobody.

The relations men/women at Godard

Permanent incomprehension, misunderstanding, misunderstandings, failures… Pierrot insane the : Marianne looks at Pierrot with feelings, looks it to him with ideas. She wants to go to Monaco, Las Vegas, him in Athens, Rome… He intellectual, it frivolous.

Incomprehension which is often linguistic: In Breathless , Patricia does not include/understand only known as Belmondo: she asks unceasingly: " it is what…? " , in a woman is a woman , Karina asks whether a happy event it is in French the same thing as a happy event. a woman is a woman is entirely devoted to this disagreement between man and woman, but is treated on the mode of the comedy.

In the Contempt , it is a long incomprehension between the two characters. He is an intellectual, writer, it a simple woman, typist, coming from an popular environment. Difference of medium, age…

In Masculine-Female , Jean-Pierre Léaud plays a rather intellectual young man, listening to Bach, forsaken by his/her friend (Chantal Goya), more frivolous, singer of varieties and working in a female magazine. In Week end , the couple is hated, they are mistaken mutually and want to be assassinated… In Sauve which can the life : Paul Godard affirms that they cannot be touched (with Denise Rimbaud) that while typing itself above. The woman is often the foreigner: she is foreign: Jean Seberg is American ( Breathless ), Anna Karina is Danish in the small Soldier (the male character affirms that it finds very beautiful the women who speak a foreign language) and in a woman is a woman , Marina Vlady is Russian ( 2 or 3 things. ), Anne Wiasemsky is of Polish origin, Jane Fonda is American ( All is Well ), Hanna Schygulla is German ( Passion ), Domiziana Giordano is Italian ( New wave )…

One of the two characters ends up dying: Belmondo dies in Breathless , Karina in the small Soldier , Karina in Vivre its Life , Bardot in the Contempt , Karina and Belmondo in Pierrot insane the , Jean-Pierre Léaud in Masculine-female , Dutronc in Sauve which can the life , Maruschka Detmers in Prénom Carmen , Delon in New wave , Berthe in Éloge of the love …

There is reconciliation only at very rare moments, fugacious, fragile: for example in To live its Life , this moment is dumb and subtitles. With the whole beginning of the Mistaken , the famous blazon, filmed with various filters of yellow colors or blue, to emphasize it, announced like moment of grace, one privileged, rare moment. In Sauve which can (life) , Paul Godard throws himself on Denise Rimbaud.

Jean-Luc Godard uses a process of idles, jerked, still images: then the combat is transformed into a kind of pressure in love, and one perceives a smile or a laughter on the face of Nathalie Baye. In Praise of the love , rare moment in the car where Berthe takes back the male character at the station, quoting holy Augustin in connection with the love.

Praise of the love

Present in black and white, passed colors. Only fixed plans, no dolly. In the first part, short appearance of Godard, reading on a bench. Superpositions of words. Philippe, before entering, striking three blows, as with the opening of a play. Edgar reads a book made up of white pages. Constant use of the out-field. The sound does not correspond to the image, those which speak are out-field. Closes-up on the faces, very few broad plans. On the memory: dialog on the duty to remember between Forlani and Rosenthal, Edgar affirms to have memory when he speaks with Berthe with the warehouses about the SNCF, and Philippe called to Edgar which since he does not work any more with him, Mr. Rosenthal loses the memory. An extract of the Situations III of Sartre on the refusal of time, and the memory is known as twice (in the first and the second part). Memory of history of resistance during Second war (step of Rosenthal which wants to recover the paintings despoiled during the war, the history of Mr. and Mrs. Bayard that want to buy the Americans), memory of conflict with Kosovo (conference in the bookstore where Berthe works), memory of Vietnam (the chambermaid Vietnamese), mental blank of the Americans, memory of the battle of César against Lutéciens at the Bois de Boulogne, memory of the history of the social struggles through the factories of Renault with Billancourt. Memory also through the station of bus " Drancy avenir" , evocation of the camp of Drancy. Drancy evokes the dark past, but was ironically dependant in the future; one sees also de Gaulle through the poster of the spectacle of Robert Hossein " That which said non". Several plates with the memory of shot by the Germans are shown, in particular that of the Saint-Michel place. Personal memory of Edgar in the second part: it is the memory of Edgar, through bright colors, plays on the video (slowed down, zooms, superpositions of images…), Red Sea, the blue shore. Back, shade of Berthe (one learns its name only in this second part) painted " France libre" on a boat.

I greet you Marie

Jean Luc Godard insists there unceasingly on the spherities: the Moon, Sun, the balloon of crate, red light… It is obviously about a symbol of fruitfulness: the egg, the ovule. In the book of Marie , Marie breaks a boiled egg. This spherity is also that of the zero, of the new beginning.

The single insert of film is: “In this time there”. It returns to a past, one formerly. However, the film presents the events like contemporaries. It is about maintaining formerly, a past-present. That corresponds to the Christian requirement for contemporaneity: any Christian to have it to be made the contemporary of Christ.

2 or 3 things which I know of it

My similar, my brother , the formula of Baudelaire designating the reader in the opening of the Fleurs of the evil is taken again by Godard to indicate the world. It is the world which is the similar one, the brother of Marina Vlady: she tests a strange feeling of communion with the world, of identification with him. She does only one with the world and the world does only one with her. She is lost, dispersed in the daily world, the ambient world. The immersion in the world of the daily preoccupation? It east can be that which is revealed in Marina Vlady in a feeling: anguish.

Esthetics very close to that of Made in the USA : a play on three colors, blue, the white and red, in the inserts as in the decorations or clothing of the characters.

Example: a plan where Marina Vlady is lying on a bed. One sees the blue sweater, white cloth, the red cover. In the following plan, the child appears to tell his dream and to ask what is the language. The leaves of the door are blue, the walls are white and its sweater is red. Godard composes its plans with the manner of a painter.

Visual quotation of covers of the books of the collection Ideas: in particular Studies on the industrial society and Psychology of the form .

Car-derision in connection with its mania of the quotation? Two characters, Bouvard and Pécuchet, quote books randomly.

Importance of the topic of the language as in a woman is a woman , Vivre its life (the maintenance with Chick with Brice Parain in connection with the word), Alphaville (the combat of the logical language and technique against the language of poetry), Made in the USA (the scene of the bar):

- How you know that it is a garage? You are sure that one was not mistaken in name? … What it is a swimming pool or a hotel?
- Ah! It is possible, yes. Ca could be also called another thing, yes.
- Good, Ben, precisely, what makes that the things bear a certain name?
- Because one gives them.
- And which gives them?

Alphaville

Alphaville , it is Paris: Godard does all so that the spectator recognizes Paris. One recognizes the Parisian Métro, the quays of the Seine, etc It evokes the fast expansion of Alphaville. It is an allusion to the expansion of Paris, the construction of the great units already evoked in the Police officers and thereafter in Two or three things which I know of it . It evokes the HLM in which one parks the individuals, of the hospitals for long illness. It evokes also the destruction in mass of individuals by the spectacle, the permanent entertainment which tears off the individual with poetry, art, philosophy. It is the media-consumériste company which appears in the Sixties (fast development of television). This company, Godard already denounces it in the Police officers or Pierrot insane the where the word, poor, stereotyped, is not any more logic or the functional language but is the advertizing slogan. Godard thus denounces the company which he sees appearing. Alphaville it is a science fiction film which speaks about reality, it speaks about a future but which is already there.

During does its combat-dialog against Alpha 60, Lemmy Caution evoke Pascal “the silence of these infinite spaces frightens me” ( Pensées ), Nietzsche “Which is the privilege of deaths? Not to die more” ( the Merry Knowledge ), Bergson “I believe in the immediate data of the conscience” ( Essai on the immediate data of the conscience ). Philosophy and poetry are the two forms of language which are opposed to the language alpha 60. This combat is a combat of language, two languages clash. It is the language of the tradition against the language of the technique (cf the conference Langue of tradition and technical language , of Martin Heidegger).

In the discussion with the scientist (Laslo Szabo), this one says that it is interdict to say " pourquoi". Precisely because why, it is the questioning, it is freedom, it is philosophy and poetry. When Lemmy Caution known as “I am a free man”, the scientist answers that this answer wants nothing to say. Alpha 60 is the negation of freedom. Alpha 60 does not say " pourquoi" , she says " because ". " Because " , it is the explanation, the logical consequence, it is the need, it is not-freedom; " to record, calculate, to draw from the consequences, it is that Alpha 60" explain the scientist with Lemmy Caution. Not why: it is also an allusion to If it is a man of Primo Levi, in which an S affirms that here (in the death camps), there is not why. Allusions to the totalitarian system Nazi are innumerable. Inter alia: when Lemmy Caution takes the elevator to go down to the basement where those which expressed emotions are carried out, and presses on the button. Close-up on this posting last: " S ".

Germany the Ninety, nine zero

Allusion to Germany year zero (Germania ass zero) of Roberto Rossellini.

“to hold during one hour only one and even note only one agreement”

It is what the film does, and the held note, it is the solitude.
Loneliness of the character who passes in a landscape of ruin, in search of the Occident: feeling of dereliction. The fall of the wall: it is the end of certain Germany. It is a new beginning, a new beginning, a restarting with zero (it is also that the direction of the nine zeros). Loneliness of the last secret agent, Lemmy Caution, which ends up finding West Berlin and discovering that this one very has Alphaville which it left, victorious, in film of 1965: the servants obey the whistle and answer Constantine " Arbeit macht frei".

Godard pays homage to the culture German, or more generally Germanic:

philosophy :

Hegel, Reason in the History .
Heidegger, Chemins which does not carry out nowhere, Acheminement towards the Word .
Kant, evocation of the Categorical imperative .

psychoanalysis :

Freud : it is quoted by the image (photo), and in the text (" wo be war, das ich ground werden: Where That was, it Me devenir" must;))

music : Bach, Mozart, Beethoven, Liszt, Webern, etc

literature : Goethe ( Faust ), Schiller, Kafka, Brecht, Rilke (" the dragons of our life are only princesses who wait to see us beautiful and courageux")…

painting : Cranach.

cinema : the Last of the men , of Murnau is quoted visually, as well as films of Fritz lang.

References with its own films:

The presence of Eddie Constantine in the Role of Lemmy Caution evokes Alphaville . It quotes Pascal in the same way that in Alphaville : the silence of these infinite spaces frightens me; “silence eternal of these innumerable volumes frightens me”. In front of the statue of Pouchkine, he says that a soldier greets an artist, which is a car-quotation: it is what said to Michel-Angel in the Police officers .

Catalog of films

Realizer

This catalog of films takes again that established for Jean-Luc Godard - Documents , published in May 2006 by the Center Georges Pompidou at the time of the event Jean-Luc Godard.

1955 : Operation ``Concrete''
1956: an vain woman
1957: All the boys are called Patrick, or Charlotte and Veronique
1958: a water history (corealized with François Truffaut)
1958: Charlotte and her Jules
1960: Breathless
1960: Trailer of '' Breathless ''
1960: the Small Soldier
1960: Trailer of the '' Petit Soldier ''
1961: a woman is a woman
1961: Bande-annonce of '' a woman is a woman ''
1961: the Idleness (episode of the film Seven deadly sins )
1962: To live its life. Film in twelve tables
1962: Trailer of '' Vivre its life ''
1962: the New World (episode of the film RoGoPaG )
1963: the Police officers
1963: Trailer of the '' Carabiniers ''
1963: the Large Swindler (episode of the film Most beautiful Swindles of the world )
1963: the Contempt
1963: Trailer of the '' Mépris ''
1964: Band with share
1964: Trailer of '' Bande to share ''
1964: a married woman. Fragments of a film made in 1964
1964: Trailer of '' a married woman ''
1965: Montparnasse-Levallois. An action film (episode of the film Paris seen by… )
1965: Alphaville. A strange adventure of Lemmy Guarantee
1965: Trailer of '' Alphaville. A strange adventure of Lemmy Guarantee ''
1965: Pierrot insane the
1965: Trailer of '' Pierrot insane the ''
1966: Male female
1966: Trailer of '' female Masculin ''
1966: Made in the USA
1966: Trailer of '' Made in the USA ''
1966: 2 or 3 things which I know of it
1966: Trailer of '' 2 or 3 things which I know of elle'
1967: Anticipation (love in the year 2000) (episode of the film the Oldest Trade of the world )
1967: Camera-Eye (episode of the film Far from Vietnam )
1967: Trailer of '' Mouchette '' of Robert Bresson
1967: Chinese the
1967: Trailer of '' Chinese the ''
1967: the Love (episode of the film Amore E Rabbia )
1967: Weekend
1967: Trailer of '' Week-End ''
1968: the Merry Knowledge
1968: Cinétracts (numbers 7,8,9,10,12,13,14,15,16,23,40)
1968: a film like the others (asserted a posteriori by the Group Dziga Vertov)
1968: One American Movie (given up by the Group Dziga Vertov then finished by Richard Leacock and D.A. Pennebaker in 1971 pennies the title One TOKEN ENTRY )
1968: One Plus One (distributed in a version modified by the producer under the title Sympathy for the Devil )
1969: British Sounds (signed a posteriori by the Group Dziga Vertov)
1969: Pravda (signed a posteriori by the Group Dziga Vertov)
1969: Wind east (signed by the Group Dziga Vertov)
1970: Fights in Italy (Burbot in Italia) (signed by the Group Dziga Vertov)
1970: Until the victory (Methods of thought and work of the Palestinian revolution) (signed by the Group Dziga Vertov) (unfinished)
1970: Vladimir and Rosa (signed by the Group Dziga Vertov)
1971: Schick (corealized with Jean-Pierre Gorin) (advertizing film)
1972: All is well (corealized with Jean-Pierre Gorin)
1972: Bande-annonce of '' All is well '' (corealized with Jean-Pierre Gorin)
1972: Letter to Jane : Year Investigation Butt has Still (corealized with Jean-Pierre Gorin)
1974: Here and elsewhere (corealized with Anne-Marie Miéville)
1975: Number two (corealized with Anne-Marie Miéville)
1976: How that is (corealized with Anne-Marie Miéville)
1976: Six times two (On and under the communication) (corealized with Anne-Marie Miéville)

1a: Y' has anybody
1b: Louison
2a : Lessons of things
2b: Jean-Luc
3a: Photographs and Co
3b: Marcel
4a: No the stories
4b: Chicks
5a: Us three
5b: Rene (E) S
6a: Before and after
6b: Jacqueline and Ludovic

1977: When the left has the capacity
1979: France tower turning two children (corealized with Anne-Marie Miéville)

1. Obscure/Chemistry
2. Physical light/
3. Known/Geometry/Geography
4. Technical unknown/
5. Dictated impression/
6. Expression/French
7. Violence/Grammar
8. Disorder/Calculation
9. To be able/Musique
10. Novel/Economy
11. Logical reality/
12. Dream/Morale

1979: Scénario of Safe which can (life). Some remarks on the realization and the production of the film
1979: Sauve which can (life)
1979: Trailer of '' Sauve which can (life) ''
1980: good with to do everything
1982: Letter in Freddy Buache. In connection with a short-measuring on the town of Lausanne
1982: Passion, work and love: introduction to a scenario, or Third state of the scenario of the film Passion
1982: Passion
1982: Scenario of the film Passion
1982: Trailer of the film '' Passion ''
1982: To change image. Letter with the beloved (episode of the series Change in more than one way )
1983: First name Carmen
1983: Trailer of the film '' Prénom Carmen ''
1983: Petites notes in connection with film I greet you, Marie
1985: I greet you, Marie
1985: Bande-annonce of the film '' I greet you, Marie '' and '' the Book of Marie ''
1985: Detective
1985: Software and Hardware. Soft Talk One has Hard Subject Between Two Friends (corealized with Anne-Marie Miéville)
1985: Rise and fall of a small shop of cinema revealed by the research of the actors in a film of public television according to an old novel of J.H. Drives out
1986: Meetin' WA
1987 : Armide (episode of the film Aria )
1987: Looks after your line. A place on the Earth
1987: King Lear
1987 : One ravelled all
1987: Closed (two series of ten and seven advertizing films)
1988: Power of the word
1988: the Last Word (episode of the series French seen by… )
1988: History (S) of the cinema

1A: All the stories
1B: A history alone

1989: the Report/ratio Darty
1990: New wave
1990: Trailer of '' New wave ''
1990: Metamorphojean (series of five advertizing films)
1990: Been able Lulla (advertizing film)
1991: are the Childhood of art (episode of the series Comment the children? ) (corealized with Anne-Marie Miéville)
1991: Germany nine zeros. Lonelinesses, a state and variations
1991: For Thomas Wainggai (episode of the film To write against the lapse of memory ) (corealized with Anne-Marie Miéville)
1992: (Parisian People) S (corealized with Anne-Marie Miéville) (advertizing film)
1993: Alas for me
1993: Trailer of '' Hélas for me ''
1993: the children play in Russia
1993: I greet you Sarajevo
1995: JLG/JLG. Self-portrait of December
1995: Trailer of '' JLG/JLG. Self-portrait of December ''
1995: Twice fifty years of French cinema (corealized with Anne-Marie Miéville)
1996: Hope/Microcosmos
1996: the world as it does not go
1996: For Ever Mozart
1996: Trailer of '' For Ever Mozart ''
1996: Good-bye with the TNS
1996: More Oh!
1998 : History (S) of the cinema

1A: All the stories (new version)
1B: A history alone (new version)
2A: Only the cinema
2B: Fatal beauty
3A: The Currency of the absolute
3B: A vague news
4A: The Control of the Universe
4B: Signs among us

1998: The Old Places. Small Notes Regarding the Arts At Fall off 20th Century (corealized with Anne-Marie Miéville)
2000: the Origin of XXIè century
2001: Praise of the love
2001: Trailer of '' Éloge of the love ''
2002: In the black of time (episode of the film Ten Older Minutes: The Cello )
2002: Freedom and fatherland (corealized with Anne-Marie Miéville)
2004: Our music
2004: Trailer of '' Our music ''
2004: selected Moments of the History (S) of the cinema
2004: Prayer for refusniks
2004: Prayer (2) for refusniks
2006: Report amateur (model expo)
2006: True false passport. Documentary fiction on occasions to make an assessment in connection with the way of doing of the films
2006: Ecce homo
2006 : good with to do everything (new version)
2008: Socialism (in preparation)

Actor

1950 : Squares It Jacques Rivette
1951: Presentation or Charlotte and her steak of Eric Rohmer
1958: Paris belongs to us of Jacques Rivette
1962: Cléo from 5 to 7 of Agnes Varda
1983: Sollers - Godard, maintenance , republished in 2006 by video Arcades
1997: We all are still here of Anne-Marie Miéville
2000: After the reconciliation of Anne-Marie Miéville

Assembler chief

Passion (1982) of Jean-Luc Godard
For Ever Mozart (1996) of Jean-Luc Godard

Dialogist

Passion (1982) of Jean-Luc Godard

Assembler

Looks after your line (1987) of Jean-Luc Godard
King Lear (1987) of Jean-Luc Godard
New wave (film, 1990) (1990) of Jean-Luc Godard

Producer

the Father Christmas has the blue eyes (1966) of Jean Eustace
Sauve which can (life) (1980) of Jean-Luc Godard

Scenario writer

1959: Breathless of Jean-Luc Godard
1960: the Small Soldier of Jean-Luc Godard
1961: a woman is a woman of Jean-Luc Godard
1962: Seven deadly sins of Claude Chabrol
1963: the Police officers of Jean-Luc Godard
1963: Rogopag ( Ro.Go.Pa.G. ) of Jean-Luc Godard, Pier Paolo Pasolini, Roberto Rossellini and Ugo Gregoretti
1963: Most beautiful Swindles of the world of Claude Chabrol, Jean-Luc Godard, Hiromichi Horikawa, Ugo Gregoretti and Roman Polanski
1963: the Contempt of Jean-Luc Godard
1964: a married woman of Jean-Luc Godard
1965: Pierrot insane the of Jean-Luc Godard
1965: Paris seen by… of Jean-Luc Godard, Jean Douchet, Eric Rohmer, Claude Chabrol and Jean-Daniel Pollet
1965: Alphaville, a strange adventure of Lemmy Guarantee of Jean-Luc Godard
1966: Male, female of Jean-Luc Godard
1966: Made in the USA of Jean-Luc Godard
1967: the Oldest Trade of the world of Claude Autant-Lara, Mauro Bolognini, Philippe de Broca, Jean-Luc Godard and Free Indovina
1967: Chinese the of Jean-Luc Godard
1967: Far from Vietnam of Jean-Luc Godard, Joris Ivens, William Klein, Claude Lelouch and Chris Marker
1967: Weekend of Jean-Luc Godard
1968: the Merry Knowledge of Jean-Luc Godard
1972: One P.M of Jean-Luc Godard and D.A. Pennebaker
1977: France/turn/turning/two/children ( France/Turn/Turning (TV)) of Jean-Luc Godard and Anne-Marie Miéville
1979: Sauve which can (life) of Jean-Luc Godard
1983: Passion of Jean-Luc Godard
1983: Breathless made in the USA ( Breathless ) of Jim McBride
1984: Detective of Jean-Luc Godard
1984: I greet you, Marie of Jean-Luc Godard
1987: King Lear of Jean-Luc Godard
1987: Looks after your line of Jean-Luc Godard
1990: New wave of Jean-Luc Godard
1993: Alas for me of Jean-Luc Godard
1996: For Ever Mozart of Jean-Luc Godard
1999: The Old places of Anne-Marie Miéville and Jean-Luc Godard
2000: Praise of the love of Jean-Luc Godard
2003: Our music of Jean-Luc Godard

Rewards

Very often rewarded, one especially notices it with his six films in official selection with Cannes, his six films named for the Lion of gold to the Mostra of Venice, or his many participations in the Berlinale, festival of Berlin. It is thanks to diversity of its films, or by its originality which the selectors will often notice it. Here a list of the prices which it gained.

Berlinale

1960 : Money bear and nomination to the Bear of gold for Breathless
1961: Money bear and nomination to the Bear of gold for a woman and a woman
1965: Bear of gold for Alphaville a strange adventure of Lemmy Guarantee
1966: Interfilm Award, Youth Award Film and nomination with the Bear of female gold for Male: 15 precise facts
1968: Named with the Bear of gold for Week end
1969: Named with the Bear of gold for Amore E rabbia
1973: Interfilm Award for All is well
1985: “Interfilm Award and OCIC Award for I greet you Marie , and named with the Ours of gold

Cannes festival

Six official selections with the Cannes festival, and nomination with the Palm of gold with Praise of the love , New wave , Aria , Detective , Passion , and Sauve which can (life) .

César of the cinema

1981 : Named in César of best film and the best realizer for Sauve which can (life)
1983: Named in César of best film and the best realizer for Passion
1987 and 1998: César of honor

Mostra of Venice

1962 : Pasinetti Award and special price of the jury, and nomination with the gold Lion for To live its life, film in twelve tables
1964: Named with the Lion of gold for a married woman: continuation of fragments turned in 1964
1965: Named with the Lion of gold for Pierrot insane the
1967: Special price of the jury, and nomination with the gold Lion for Chinese the
1982: Gold lion for its career
1983: Gold lion for First name Carmen
1991: Gold medal of the president of the Italian Senate and nomination with the gold Lion for Germany 90 nine zero
1996: Named with the gold Lion for For ever Mozart

Other distinctions

1995 : Theodor-W Price. - Adorno

Various and anecdotes

Jean-Luc Godard is also the title of documentary 29 minutes which is devoted to him, carried out in 1965 by Jacques Doniol-Valcroze.
In 1984, with Cannes, Godard is entarté by the group of No5el Godin.
In 1966, Andre Malraux, then Minister for the cultural Affairs, obtains from the Secretary of State to Information Yvon Bourges the prohibition of the film the Nun of Jacques Rivette according to Diderot). Jean-Luc Godard writes in Malraux the letter suivante :

“ Your owner was right. All occurs on a vulgar level and subordinate… Fortunately, for us, since we are intellectuals, you, Diderot and me, the dialog can begin at a higher level…

Being scenario writer as others is Jewish or black, I started to have some enough to go each time to see you and to require of you to intercede near your friends Roger Frey and Georges Pompidou to obtain the grace of a film condemned to died by the censure, this Gestapo of the spirit. But God of the Sky, I really did not think of having to do it for your brother, Diderot, a journalist and a writer like you, and his Religieuse , my sister…

Aveugle which I was! I should have remembered me the letter for which Denis had been put at the Bastille… what I had taken on your premise for courage or intelligence when you saved my married Femme of the axe of Peyrefitte, I include/understand finally what it was, now that you accept of a light heart the prohibition of a work where you had however learned the exact direction from these two concepts inséparables : generosity and resistance. I understand finally that it was quite simply of cowardice…

If it were not prodigiously sinister, it would be prodigiously beautiful and moving to see a minister UNR in 1966 being afraid of an encyclopedic spirit by 1789…

Nothing astonishing so that you do not recognize any more my voice when I speak to you, in connection with prohibition of Suzanne Simonin, the Nun of Diderot , assassination. Not. Nothing astonishing in this major cowardice. You made the ostrich with your memories interiors. How thus could you me hear, André Malraux, me which telephones to you of outside, of a remote country, France libre ? ”

a postscript precise: “ Lu and approved by François Truffaut, obliged to turn to London, far from Paris, Fahrenheit 451 , temperature to which burn the books. ”

This letter is extracted from the book of Herve Hamon and Patrick Rotman: Generation (volume 1, years of dream ).

Family ties

Jean-Luc Godard is first cousin of Jerome Monod (° 1930), administrator of companies and politician French (“near among the close relations” to Jacques Chirac), but also, with a degree more moved away, of the naturalist Theodore Monod (1902-2000) and of the biologist and chemist Jacques Monod (1910-1976).

See Descent of Jean Monod (1765-1836).

He is also cousin of the mayor of Clermont-Ferrand, Serge Godard.

Sources

(1) * Jean-Luc Godard by Books of the cinema

External bonds

files of the INA concerning Jean-Luc Godard
Godard interviewed on Arte in 2001

Random links:

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