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Transcript of Jean-Luc Godard
It's where you take them to." Week-End 1967 Origins French New wave Criticisms and Praises Breathless 1960 New Methods of Expression Improvised
dialogue Rapid Scene
Changes Shots beyond 180 degree Axis Jump Cuts Came from a
methods ...and the need to accomodate a tight budget Camera used to play
of cinema More about the
than the story "A story should have a beginning, a middle, and an end... but not necessarily in that order."
"I pity the French Cinema because it has no money. I pity the American Cinema because it has no ideas."
No attempt to
viewer's disbelief "The cinema is truth twenty-four times per second." Themes Anti-War Marxism Le Petit Soldat: dealt with the
Algerian War of Independence Loin du Vietnam: a collaborative project
addressing the vietnam war An anti-capitalism theme is
prominent in several of his films,
especially Week-End & La Chinoise "In films, we are trained by the American way of moviemaking to think we must understand and 'get' everything right away. But this is not possible. When you eat a potato, you don't understand each atom of the potato!" Cinema had become for him a transformational experience in which the distance between the viewer and what occurred on the screen no longer existed. By watching films you were already part of them.
Born in 1930,
JLG is from a wealthy Franco-Swiss
family. Attended college in Paris where he studied
ethnology & became friends with future fellow filmmakers. Parents cut him off
from his financial support when he
was 21, so he was forced to go into
construction to fund
his passion. JLG dedicated a lot of time to writing movie reviews and political articles for local publications. He also had to resort to stealing food and money to survive. He is still active today directing films.
His most recent being in 2010 titled:
Film Socialisme. Anti-Semetic? Film Socialisme 2010 Influenced:
Oliver Stone "Grandfather of French New Wave movement" “… his gifts as a director are enormous. I just can’t take him very seriously as a thinker — and that’s where we seem to differ, because he does. His message is what he cares about these days, and, like most movie messages, it could be written on the head of a pin. But what’s so admirable about him is his marvelous contempt for the machinery of movies and even movies themselves — a kind of anarchistic, nihilistic contempt for the medium — which, when he’s at his best and most vigorous, is very exciting.” Orson Welles