Cinema: The Archaeology of Film and the Memory of A Century (Talking Images)
Category: Books,New, Used & Rental Textbooks,Humanities
Cinema: The Archaeology of Film and the Memory of A Century (Talking Images) Details
Review “[Godard]'s also as independent and provocative as ever, as illustrated by this collaboration with Ishaghpour, which results in a spirited dialog between the men that ranges freely among such subjects as cinema, history, art, music, literature, and philosophy, concentrating in particular on multiple definitions of history and their implications for cinema and the status of cinema as an art.” ―Library Journal“The greatest living cinematic artist, the wisest, most transformative, most original agent provocateur at work in the fields of cinema? The short answer: sans doute. Godard is to his medium what Joyce, Stravinsky, Eliot, and Picasso were to theirs: rule-rewriting colossi after whom human expression would never be quite the same.” ―Village Voice on Godard's Cinematic Work“It's possible to hate half or two-thirds of what Godard does--or find it incomprehensible--and still be shattered by his brilliance.” ―Pauline Kael on Godard's Cinematic Work Read more About the Author Jean Luc Godard started making films in the late 1950s and is still making them. From his first feature, A Bout de Souffle (Breathless), Godard changed the way movies were made. Godard has always taken film-making seriously, treating it - from his days on the famous review, Cahiers du Cinema, to the extraordinary collage of his Histoires du Cinema - as an art form worthy of analysis. Today, his influence extends across such key contemporary film-makers as Robert Altman, Martin Scorsese, Jim Jarmusch, Wim Wenders, Steven Soderbergh and Quentin Tarantino.Jean Luc Godard started making films in the late 1950s and is still making them. From his first feature, A Bout de Souffle (Breathless), Godard changed the way movies were made. Godard has always taken film-making seriously, treating it - from his days on the famous review, Cahiers du Cinema, to the extraordinary collage of his Histoires du Cinema - as an art form worthy of analysis. Today, his influence extends across such key contemporary film-makers as Robert Altman, Martin Scorsese, Jim Jarmusch, Wim Wenders, Steven Soderbergh and Quentin Tarantino.Youssef Ishaghpour is Professor at the University Rene Descartes, Paris V. His writings on cinema, painting, philosophy and literature have been widely translated.Translated by John HoweJohn Howe, is a translator, journalist and writer. His many translations include Godard's voiceover for the complete soundtrack edition of Histoire(s) du cinema. Read more
Reviews
This small book of dialogues between Godard and Youssef Ishaghpour is, to put it mildly, a total rip off. In their dialogues Godard furnishes us with no more than 20 pages ofcomments to Ishaghpour's exceedingly lengthy comments and questions. After just viewing Godard's excellent new film, "Notre Musique" this was a real "downer." The mention of the Archaelogy of Cinema in the the subtitle and "The Gaze" as a chapter title led me to believe this would have a tint of the the thought of the great french social philospher Michel Foulcault (he is mentioned once or twice).I thought a good interviewer is supposed to evoke meaningful responses from his subject. Ishaghapour doesn't let- or Godard doesn't want to- get more than a few sentence reponse in.Another annoying element to this borderline fraudelnt presentation is that the Amazon description gives the impression this is significant tratise on Godard's thoughts on the twentieth century's political and cultural events. Rather Ishagapour is given a forum for his thought and his interpretations of Godard. Worse still, Godard doesn't evendisplay his critical acumen or irreverance and is led like a lamb by his interviewer,I'm not saying that Ishaghapour doesn't have some worthwile comment's plus an article at the end of the book. But wasn't this supposed to be about JLG- duh?I sincerely hope I am wrong. I'm definitely sending this one back. Come on now. How dumb do the publishers think we have become to think that this book is anything but a misuse of the master's name.There are some intereting testimonials by major figures and institutions on the back of this book by "The Village Voice," Pauline Kael...but none refer to this book.
