Jean-Luc Godard:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal Articles

Articles and Books on Individual films
Movies by Director videography for works of Goddard in MRC
French cinema videograpy for reviews/articles on individual Goddard films

Books

Allegri, Luigi.
Ideologia e Linguaggio nel Cinema Contemporaneo, Jean-Luc Godard / Luigi Allegri. Parma: Universita di Parma, Centro studi e archivio della comunicazione, 1976. Series title: Quaderni di storia dell'arte (Parma, Italy); 9.
NRLF $B 184 933

Aumont, J. (Jacques)
Amnesies: fictions du cinema d'apres Jean-Luc Godard / Jacques Aumont. Paris: P.O.L., c1999.
UCB Main PN1998.3.G63 A96 1999

Bergala, Alain.
Godard au travail : les annees 60 Paris : Cahiers du cinema, c2006.
MAIN: PN1998.3.G63 B45 2006

Bergala, Alain.
Nul mieux que Godard / Alain Bergala. Paris: Editions Cahiers du cinema, 1999. Series title: Cahiers du cinema. Essais.
UCB Main PN1998.3.G63 B47 1999

Bersani, Leo.
Forms of being : cinema, aesthetics, subjectivity London : BFI, 2004.
GRDS: PN1995 .B36 2004; Non-circulating; may be used only in Graduate Services.
MAIN: PN1995 .B36 2004

Beugnet, Martine.
"Jean-Luc Godard, 1979." In: Marginalite, sexualite, controle dans le cinema francais contemporain / Martine Beugnet. Paris : Harmattan, c2000.
Main Stack PN1993.5.F7.B47 2000

Brown, Royal S.
Focus on Godard, edited by Royal S. Brown. Englewood Cliffs, N.J., Prentice-Hall [1972]. Series title: Film focus. Series title: A Spectrum book S-277.
UCB Main PN1998.A3 G56 B7

Cannon, Steve
"'When you're not a worker yourself...' : Godard, the Dziga Vertov Group and the audience." In: 100 years of European cinema : entertainment or ideology? / edited by Diana Holmes & Alison Smith. Manchester ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by St. Martin's Press, 2000.
Main Stack PN1993.5.E8.A14 2000

Caughie, John.
"Becoming European: Art Cinema, Irony and Identity." In: Screening Europe: Image and Identity in Contemporary European Cinema / edited by Duncan Petrie. pp: 32-44. London: BFI Publishing, 1992. BFI working papers
Main Stack PN1993.5.E8.S33 1992

Cerisuelo, Marc.
Jean-Luc Godard / Marc Cerisuelo. Paris: Lherminier: Editions des Quatre-Vents, c1989. Series title: Collection Spectacle/poche; 4.
NRLF B 3 719 911

The cinema alone : essays on the work of Jean-Luc Godard, 1985-2000
Edited by Michael Temple and James S. Williams. Amsterdam : Amsterdam University Press, c2000.
Includes discography, filmography, and bibliographical references and index. Introduction to the mysteries of cinema, 1985-2000 / Michael Temple and James S. Williams -- Montage, my beautiful care, or histories of the cinematograph / Michael Witt -- Elizabeth Taylor at Auschwitz : JLG and the real object of montage / Alan Wright -- 'The present never exists there' : the temporality of decision in Godard's later film and video essays / Jonathan Dronsfield -- Big rhythm and the power of metamorphosis : some models and precursors for Histoire(s) du cinema / Michael Temple -- Mortal Beauty / Jaques Aumont -- European culture and artistic resistance in Histoire(s) du cinema / James S. Williams -- The Evidence and uncertainty of silent film in Histoire(s) du cinema / Vicki Callahan -- The crisis of cinema in the age of the new world memory : the baroque performance of King Lear / Timothy Murray -- The Power of language : note on Puissance de la parole, Le dernier mot and On s'est tous defile / Jean-Louis Leutrat -- Investigation of mystery : cinema and the sacred in Helas pour moi / Ltitia Fieschi-Vivet.
Main Stack PN1998.3.G63 C56 2000

Collet, Jean.
Jean-Luc Godard. Presentation par Jean Collet; textes de Jean-Luc Godard; extraits de films, documents, panorama critique, temoignages, filmographie, bibliographie, documents iconographiques. [Paris] Seghers [1963]. Series title: Cinema d'aujourd'hui 18.
UCB Main PN1993 .C4 v.18

Collet, Jean.
Jean-Luc Godard. Translated by Ciba Vaughan. [Rev. ed.]. New York, Crown Publishers [1970]. Series title: Editions Seghers' Cinema d'aujourd'hui in English.
UCB Main PN1998.A3 G56 C612
UCB Moffitt PN1998.A3 G6113

Desbarats, Carole.
L'effet Godard / Carole Desbarats, Jean-Paul Gorce. Toulouse, France: Milan, c1989.
NRLF C 2 883 313

Dixon, Wheeler W.
The Films of Jean-Luc Godard / Wheeler Winston Dixon. Albany: State University of New York Press, c1997. Series title: The SUNY series, cultural studies in cinema/video.
UCB Main PN1998.3.G63 D55 1997

Douin, Jean Luc.
Jean-Luc Godard / par Jean-Luc Douin. Paris: Rivages, c1989. Series title: Rivages/cinema 23.
UCB Main PN1998.A3 G6117 1989

Esquenazi, Jean-Pierre.
Godard et la societe francaise des annees 1960 [Paris] : A. Colin, c2004.
MAIN: PN1998.3.G63 E87 2004

The Films of Jean-Luc Godard
[by] Philip French [and others]. London, Studio Vista [1967]. Series title: Movie paperbacks.
UCB Main PN1998.A3 G56 F5

The Films of Jean-Luc Godard
[by] Charles Barr [and others]. 2nd revised and enlarged ed. London, Studio Vista, 1969. Series title: Movie paperbacks.
UCB Main PN1998.A3 G56 F5, 1969

For ever Godard
Edited by Michael Temple, James S. Williams, Michael Witt. London : Black Dog, 2004.
Main Stack PN1998.3.G63 F67 2004
Contents: For ever divided / Raymond Bellour -- Introduction -- Illustrated filmography -- The Godard paradox / Serge Daney -- Godard and asychrony / Keith Reader -- The commerce of cinema / Colin MacCabe -- Home-movies : the curious cinematic collaboration of Anne-Marie Mieville and Jean-Luc Godard / Catherine Grant -- Godard in the museum / Antoine de Baecque -- Here and elsewhere : projecting Godard / James Quandt -- A cinema of memory in the future tense : Godard, trailers, and Godard trailers / Vinzenz Hediger -- The forms of the question / Nicole Brenez -- Procession and projection : notes on a figure in the work of Jean-Luc Godard / Christa Blumlinger -- "Gravity and grace" : on the "sacred" and cinematic vision in the films of Jean-Luc Godard / Vicki Callahan -- Altered motion and corporal resistance in France/tour/detour/deux/enfants / Michael Witt -- Godard, Hitchcock, and the cinematographic image / Jacques Ranci`ere -- The written screen : JLG and writing as the accursed share / Philippe Dubois -- Recital : three lyrical interludes in Godard / Adrian Martin -- JLG/ECM / Laurent Jullier -- Music, love, and the cinematic event / James S. Williams -- "Sa voix" / Roland-Francois Lack -- Godard's two historiographies / Junji Hori -- The (im)possible history / Monica Dall'Asta -- Amamnesis and bearing witness : Godard/Lanzmann / Libby Saxton -- The index and erasure : Godard's approach to film history / Trond Lundemo -- "A form that thinks" : Godard, Blanchot, Citation / Leslie Hill -- Notes -- Selective bibliography -- Picture credits -- Index.

Gilliatt, Penelope.
"The urgent whisper : Jean-Luc Godard." In: Three-quarter face : reports and reflections / Penelope Gilliatt New York : Coward, McCann & Geoghegan, c1980
Main Stack PN1995.G49
Moffitt PN1995.G49

Godard.
Amiens: Maison de la Culture d'Amiens, [1975].
UCB Main PN1998.A3 G5637 1975

Godard et le metier d'artiste.
Actes du Colloque de Cerisy ; sous la direction de Gilles Delavaud, Jean-Pierre Esquenazi, Marie-Francoise Grange. Paris, France : Harmattan, c2001.
UCB Main PN1998.3.G63 C654 2001

Godard, Jean Luc
Cosmogonie: Variations / Jean-Luc Godard; illustration de Pierre Petit. Paris: Editions Saint-Germain-des-Pres, c1979. Series title: Collection blanche.
UCB Main PQ2667.O315 C67 1979

Godard, Jean Luc
Einfuhrung in eine Wahre Geschichte des Kinos / Aus dem franzosischen von Frieda Grafe und Enno Patalas. Munchen: Carl Hanser Verlag, 1981.
UCB Main PN1993.5.A1 G64

Godard, Jean Luc
Godard/Kritiker: Ausgewahlte Kritiken und Aufsatze uber Film (1950-1970) / Auswahl und Ubersetzung aus dem Franzosischen von Frieda Grafe. Munich: Carl Hanser, c1971. Series title: Reihe Hanser; 83.
UCB Main PN1998.A3 G5615 1971

Godard, Jean Luc
Godard on Godard; Critical Writings. Edited by Jean Narboni and Tom Milne. With an introd. by Richard Roud. New York, Viking Press [1972].
UCB Moffitt PN1998.A3 .G5613
UCB Main PN1998.A3 G56131 1972b

Godard, Jean Luc
Jean-Luc Godard; Articles, Essais, Entretiens. Introduction et notes par Jean Narboni. Paris, P. Belfond [1968]. Series title: Collection des cahiers du cinema.
UCB Main PN1998.A3 G56 A3
UCB Moffitt PN1998.A3 G56

Godard, Jean Luc
Jean-Luc Godard: Interviews / edited by David Sterritt. Jackson: University Press of Mississippi, c1998. Conversations with filmmakers series
Main Stack PN1998.3.G63.S74 1998

Godard, Jean Luc
Introduction a une Veritable Histoire du Cinema / Jean-Luc Godard. Paris: Albatros, c1980- Series title: Collection Ca/cinema; 22.
UCB Main PN1994 .G6 t. 1 (1980) *c(more than one copy of some volumes)
UCB Moffitt PN1994 .G6 v. 1

Godard, Jean Luc
Jean-Luc Godard par Jean-Luc Godard / edition etablie par Alain Bergala. Paris: Editions de l'Etoile, c1985.
UCB Main PN1994 .G575 1985

Godard, Jean Luc
Jean-Luc Godard par Jean-Luc Godard Edition etablie par Alain Bergala. Paris: Cahiers du cinema, 1998.
MAIN: PN1998.A3 W4391 1982

Godard, Jean Luc
Jean-Luc Godard : the future(s) of film : three interviews 2000-01 Bern : Verlag Gachnang & Springer AG, c2002.
UCB Main PN1998.3.G63 A413 2002
PFA : PN1998.3.G63 G635 2002

Godard, Jean Luc
Laisse en Ciel / Jean-Luc Godard; illustration de couverture, Rose-Marie Noe. Paris: Editions Saint-Germain-des-Pres, c1982. Series title: Collection blanche.
UCB Main PQ2667.O315 L3 1982

Godard, Jean Luc
Made in U.S.A.: Screenplay [translated from the French]. London, Lorrimer Publishing Ltd. 1967.
UCB Main PN1997.M24 G6 1967

Goodwin, Michael
Double Feature; Movies and Politics [by] Michael Goodwin and Greil Marcus. New York, Outerbridge & Lazard; distributed by Dutton [1972].
UCB Main PN1998.A3 G56 G6

Harvey, Sylvia.
May '68 and film culture London : British Film Institute, 1980.
Main Stack PN1995.H387 1980

Henderson, Brian.
" Toward a Non-Bourgeois Camera Style." In: Film theory and criticism: introductory readings / edited by Leo Braudy, Marshall Cohen. 5th ed. pp: 57-67 New York: Oxford University Press, 1999.
Main Stack PN1995.H44 1980a

Henderson, Brian.
"Godard on Godard." In: Film theory and criticism: introductory readings / edited by Leo Braudy, Marshall Cohen. 5th ed. pp: 57-67 New York: Oxford University Press, 1999.
Main Stack PN1995.H44 1980a

Jean-Luc Godard 2. Au-dela de L'image
Presente par Marc Cerisuelo; avec des textes de Sylvie Ayme...[et al.]. Paris: Lettres Modernes, 1993. Series title: Etudes cinematographiques; no 194-202.
UCB Main PN1993 .E8 no.194-202

Jean-Luc Godard: Son + Image, 1974-1991
Edited by Raymond Bellour with Mary Lea Bandy. New York: Museum of Modern Art: Distributed by H.N. Abrams, c1992.
UCB Main PN1998.A3 G6232 1992
UCB Moffitt PN1998.A3 G6232 1992

Jean-Luc Godard, documents
Datalogue, collectif de direction, Nicole Brenez, ... et al. ; conception et coordination, Nicole Brenez. Paris : Centre Pompidou, c2006.
MAIN: PN1998.3.G63 J37 2006
Publie à l'occasion de la presentation au Centre Pompidou de l'exposition 'Voyage(s) en utopie, Jean-Luc Godard, 1946-2006' (Galerie sud, 11 mai-14 aout 2006) et de la retrospective integrale des films de Jean-Luc Godard (24 avril-14 aout 2006)

Jean-Luc Godard: Television-ecritures
/ [dossier coordonne par] Jean-Marie Touratier, Daniel Busto. Paris: Editions Galilee, 1979. Series title: Ecritures/figures.
UCB Main PN1998.A3 .G6236

Kael, Pauline
"The Economics of Film Criticism: A Debate (between) Jean-Luc Godard and Pauline Kael." In: Conversations with Pauline Kael. / edited by Will Brantley. pp: 55-74 Jackson: University Press of Mississippi, [1996]. Series title: Literary conversations series.
UCB Main PN1994 .K24 1996
UCB Moffitt PN1994 .K24 1996

Kawin, Bruce F.
Mindscreen: Bergman, Godard, and First-person Film / Bruce F. Kawin. Princeton, N.J.: Princeton University Press, c1978.
UCB Main PN1995 .K34
UCB Moffitt PN1995 .K34

Kreidl, John Francis.
Jean-Luc Godard / John Kreidl. Boston: Twayne Publishers, 1980. Series title: Twayne's theatrical arts series.
UCB Main PN1998.A3 .G62365
UCB Moffitt PN1998.A3 .G62365

Lefevre, Raymond
Jean-Luc Godard / Raymond Lefevre. Paris: Edilig, [1983]. Series title: Cinegraphiques.
UCB Main PN1998.A3 G623681 1983

Lesage, Julia.
Jean-Luc Godard: A Guide to References and Resources / Julia Lesage. Boston: G. K. Hall, c1979. Series title: A Reference publication in film.
UCB Moffitt PN1998.A3 .G6237
NRLF B 3 180 316

Lesage, Julia Lewis
The Films of Jean-Luc Godard and Their Use of Brechtian Dramatic Theory / by Julia Lewis Lesage. [Bloomington, Ind.]: the author, 1976.
UCB Main PN1998.A3G58 L41 1977

Loshitzky, Yosefa.
The Radical Faces of Godard and Bertolucci / Yosefa Loshitzky. Detroit: Wayne State University Press, c1995. Series title: Contemporary film and television series.
UCB Main PN1998.3.G63 L67 1995

MacCabe, Colin.
Godard; Images, Sounds, Politics / Colin MacCabe; text, Colin MacCabe, with Mick Eaton and Laura Mulvey; interviews, Jean-Luc Godard; photography, Eric Sargent. Bloomington: Indiana University Press, c1980. Series title: British Film Institute cinema series.
UCB Main PN1998.A3 .G6239
UCB Moffitt PN1998.A3 .G6239

MacCabe, Colin.
Godard : a portrait of the artist at seventy / Colin MacCabe ; filmography and picture research by Sally Shafto. 1st American edition. New York : Farrar, Strauss, and Giroux, 2004.
Main Stack PN1998.3.G63.M33 2004

MacCabe, Colin.
"Jean-Luc Godard in conversation with Colin MacCab." In: Screening Europe : image and identity in contemporary European cinema / edited by Duncan Petrie. London : BFI Publishing, 1992. BFI working papers.
Main Stack PN1993.5.E8.S33 1992

Mancini, Michele.
Godard. Roma, Trevi, 1969. Series title: Paperbacks/cinema 2.
NRLF $B 184 947

McDonough, Tom (translator).
"The Practice of Theory: Cinema and Revolution." In: Guy Debord and the situationist international : texts and documents / edited by Tom McDonough. pp: 187-88. Cambridge, Mass. : MIT Press, c2002.
Grad Svcs HN49.R33.G89 2002
Main Stack HN49.R33.G89 2002

Meyer, Eliane
"Quand une femme n'en est pas une : gendered spectatorship and feminist scopophilia in the early films of Jean-Luc Godard." In: 100 years of European cinema : entertainment or ideology? / edited by Diana Holmes & Alison Smith. Manchester ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by St. Martin's Press, 2000. Holmes, Diana, 1949
Main Stack PN1993.5.E8.A14 2000

Monaco, James.
The new wave : Truffaut, Godard, Chabrol, Rohmer, Rivette / James Monaco. New York : Oxford University Press, 1976.
Moffitt PN1993.5.F7.M6

Morrey, Douglas.
Jean-Luc Godard Manchester ; New York : Manchester University Press ; New York : Distributed in the USA by Palgrave, 2005.
MAIN: PN1998.3.G63 M67 2005

Morrison, James
"Un-American activities in 1950s Hollywood: Hollywood reading Europe/Europe reading Hollywood." In: Passport to Hollywood : Hollywood films, European directors / James Morrison. Albany, NY : State University of New York Press, c1998. SUNY series in postmodern culture.
Main Stack PN1993.5.U6.M656 1998p. 145-74

Mulvey, Laura
"Images of women, images of sexuality: some films by J. L. Godard." In: Visual and other pleasures / Laura Mulvey. p. 49-62. Bloomington: Indiana University Press, c1989. Series title: Theories of representation and difference.
UCB Grad Svcs PN1995.9.W6 M84 1989
UCB Main PN1995.9.W6 M84 1989
UCB Moffitt PN1995.9.W6 M84 1989

Neupert, Richard John.
"Jean-Luc Godard : Le petit soldat." In: A history of the French new wave cinema / Richard Neupert. 2nd ed. Madison, Wis. : University of Wisconsin Press, c2007.
Main Stack PN1993.5.F7.N48 2007

La Nouvelle Vague 25 Ans Apres: Dossier
Reuni par Jean-Luc Douin. Paris: Cerf, 1983. Series title: Collection "Septieme art"; 66.
UCB Main PN1993.5.F7 N61 1983

O`u en est le God-art
Dirige par Rene Predal ; [redactrice en chef Francoise Puaux ; contributions de Suzanne Liandrat-Guigues, Michel Cieutat, Philippe Roger ... et al.]. Conde-sur-Noireau : Corlet ; Paris : Telerama, 2003.
MAIN: PN1998.3.G63 O9 2003

Pantenburg, Volker
>Film als Theorie : Bildforschung bei Harun Farocki und Jean-Luc Godard Bielefeld : Transcript, 2006.
MAIN: PN1995 .P285 2006

Pechter, William S.
"For and against Godard." In: Twenty-four times a second: films and film-makers, by William S. Pechter [1st ed.] New York, Harper & Row [1971]
Main Stack PN1994.P37
Moffitt PN1994.P37

Pourvali, Bamchade.
Godard neuf zero : les films des annees 90 de Jean-Luc Godard Biarritz : Seguier Archimbaud, c2006.
MAIN: PN1998.3.G63 P68 2006

Rosenbaum, Jonathan
"Theory and practice: the criticism of Jean-Luc Godard." In: Placing movies: the practice of film criticism / Jonathan Rosenbaum. p. 18-24. Berkeley: University of California Press, c1995.
UCB Main PN1995 .R65 1995

Roud, Richard.
Jean-Luc Godard. London, Secker & Warburg in association with the British Film Institute, 1967. Series title: Cinema one 1.
UCB Main PN1993 .C45 v.1

Roud, Richard.
Jean-Luc Godard. Garden City, N.Y., Doubleday, 1968. Series title: The Cinema world, 1.
UCB Moffitt PN1998.A3 G626 1968

Roud, Richard.
Jean-Luc Godard. 2nd revised ed. London, Thames and Hudson in association with the British Film Institute, 1970. Series title: Cinema one 1.
UCB Main PN1993 .C45 v.1 1970

Schleicher, Harald.
Film-Reflexionen: Autothematische Filme von Wim Wenders, Jean-Luc Godard und Federico Fellini / Harald Schleicher. Tubingen: Niemeyer, 1991. Series title: Medien in Forschung + Unterricht. Serie A Bd. 32.
NRLF B 3 631 916

Silverman, Kaja.
Speaking About Godard / Kaja Silverman and Harun Farocki; with a foreword by Constance Penley. New York: New York University Press, c1998.
UCB Main PN1998.3.G63 S56 1998

Sontag, Susan
"Godard." In: Styles of radical will / Susan Sontag New York : Farrar, Straus and Giroux, 1969
Moffitt PN771.S622 1969
Main Stack AC8.S6484

Sontag, Susan
"Godard." In: Post-war cinema and modernity : a film reader / edited by John Orr and Olga Taxidou. New York, NY : New York University Press, 2001.
Main Stack PN1994.P6567 2001

Staiger, Janet
"With the compliments of the auteur: art cinema and the complexities of its reading strategies." In: Interpreting films: studies in the historical reception of American cinema / Janet Staiger. p. 178-95 Princeton, N.J. : Princeton University Press, c1992.
Table of contents http://www.loc.gov/catdir/toc/prin031/91022248.html
Publisher description http://www.loc.gov/catdir/description/prin021/91022248.html
Grad Svcs PN1995.S6735 1992 Non-circulating; may be used only in Graduate Services.
Main Stack PN1995.S6735 1992
Moffitt PN1995.S6735 1992
PFA PN1995.S6735 1992 Pacific Film Archive collection; non-circulating

Sterritt, David.
The films of Jean-Luc Godard: seeing the invisible / David Sterritt. Cambridge; New York: Cambridge University Press, 1999.
PN1998.3.G63 S73 1999

Sterritt, David.
"Godard caresses the dead." In: Guiltless pleasures : a David Sterritt film reader. 1st ed. Jackson : University Press of Mississippi, c2005.
PFA PN1994.S816 2005

Theweleit, Klaus.
One + One: Rede fur Jean- Luc Godard zum Adornopreis. Brinkmann und Bose, c1995.
UCB Main PN1997.O455 T4 1995

Vianey, Michel.
En Attendant Godard. Paris, B. Grasset, 1967.
NRLF $B 184 941

Walsh, Martin
"Godard and me, Jean-Pierre Gorin talks." In: The Brechtian aspect of radical cinema / Martin Walsh ; edited by Keith M. Griffiths. London : BFI Pub., 1981.
Main Stack PN1995.9.E96.W3 1981
Moffitt PN1995.9.E96.W3 1981

Zants, Emily.
"Jean-Luc Godard, 1930." In: Creative encounters with French films / Emily Zants. Rev. ed. Lewiston, N.Y. : The Edwin Mellen Press, 2000.
Main Stack PN1993.5.F7.Z36 2000

Journal Articles

Adler, Renata
"Adler Loves Godard -- Sort of." New York Times Oct 27, 1968. p. D1 (2 pages)
UC users only

Adler, Renata
"Godard Stalking Reality Through the Movies." New York Times Dec 6, 1968. p. 50 (1 page)
UC users only

Albera, Francois; Penwarden, C., tr.
"When Jean-Luc didn't meet Yves: Nouvelle Vague, art and modernity." Art Press no263 Dec 2000. p. 37-42.
UC users only
"The writer discusses the debate between movies and contemporary art as dealt with by proponents of the Nouvelle Vague. Although some parallels can be drawn between Jean-Luc Godard's film Breathless (A Bout de souffle) and Yves Klein's contemporaneous work Leap into the Void, Klein's artistic gesture opened up a new space incorporating time, action, and concept, thus crossing paths with the cinematic modernity that Godard, at that time, had adopted only ambivalently. It was only with Pierrot le Fou that Godard's aesthetic really became aligned with Klein's, with a set of "missed rendezvous" and "proximities" playing out the debate between movies and contemporary art. While this issue was rather repressed by members of the Nouvelle Vague, they were constantly addressing it through their successive definitions of modernity. The writer goes on to discuss these developing definitions, examining how the approach taken by Klein and the Nouveaux Realistes had the potential to shift radically the aesthetic terms of the Nouvelle Vague." [Art Abstracts]

Archer, Eugene
"Nonconformist On The Crest Of A 'New Wave'." New York Times Feb 5, 1961. p. X7 (1 page)
UC users only

Archer, Eugene
"What Makes Us Hate -Or Love -Godard?" New York Times Jan 28, 1968. p. D17
UC users only

Aumont, Jacques.
"Godard: The View and the Voice." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 7. 1985 Fall. pp: 42-65.

Bachmann, Gideon.
"The carrots are cooked; a conversation with Jean-Luc Godard." Film Quarterly Spring 1984 v37 p13(7)

Bachmann, Gideon.
"In the Cinema, it is Never Monday." (Interview). Sight & Sound LII/2, Spring 83; p.118-120.
Godard comments on his new film "Passion" and the nature of cinema.

Bakonyi, Ivan.
"Fiction et documentaire dans quelques films de Jean-Luc Godard ou 'Raconter l'histoire d'une idee': L'Actualite en fugue dans Bande a part (1964)." Licorne, 1992, 24, 59-99.

Bates, R.
"Holes in the Sausage of History: May '68 as Absent Center in Three Europan Films." Cinema Journal XXIV/3, Spring 85; p.24-42.
Social and political implications of French student-worker uprising as expressed in "Jonas - qui aura 25 ans en l'an 2000", "Tout va bien" and "L'horloger de Saint-Paul".

Bellour, Raymond.
"The power of words, the power of images." Camera Obscura n24 Sep (1990): 7-9.

Bergala, Alain; Le Diset, Pauline
"Dialogue entre Jean-Luc Godard et Serge Daney." Cahiers du Cinema no513 May 1997. p. 49-55
"A conversation between film critic Serge Daney and filmmaker Jean-Luc Godard. Topics discussed include Godard's assertion that cinema is art and that television is commerce, his belief that cinema represents the final chapter of the history of art as defined by a certain element of Western civilization, his working methods in the area of classification of images, and his dislike of synthesized images in a film." [ArtAbstracts]

Bontemps, Jean-Louis Comolli, Michel Delahaye, and Jean Narboni.
"Struggle on Two Fronts: A Conversation with Jean-Luc Godard." Film Quarterly 22.2 (1968): 32.

Brody, Richard.
"An exile in paradise." (motion picture director Jean-Luc Godard) New Yorker v76, n35 (Nov 20, 2000):62 (1 page).
A description is presented of the personality, lifestyle and work of motion picture director Jean-Luc Godard. His prolific film-making career and ambitions for the future of cinema are discussed.

Burdeau, Emmanuel; Tesson, Charles
"Avenir(s) du cinema: entretien avec Jean-Luc Godard." Cahiers du Cinema special issue Apr 2000. p. 8-19
"In an interview, filmmaker Jean-Luc Godard discusses developments in cinema. He addresses several topics, including the influence of the New Wave on current cinema; current cinema dominated by screenplay, with more importance given to text than images; his interest in all new media; the effect of digital video on the makeup of film production teams; how he sees himself in relation to cinema as a whole; his opinion on the usefulness of DVD technology; and his opinion on the approach used by young filmmakers." [ArtAbstracts]

Bouquet, Stephane
"Le temps de filmer et le temps de vieillir." (Three New Wave filmmakers and their latest films)Cahiers du Cinema no491 May 1995. p. 36-7
"As three films by directors Jean Luc Godard, Eric Rohmer, and Jacques Rivette are released almost simultaneously, the passage of time for these directors who were at the heart of the French New Wave is discussed. Of the three, only Godard seems to acknowledge or confront his own aging, the passing of time, and the inevitable approach of death." [ArtAbstracts]

Boyers, Robert.
"Explanation and Conviction in Godard: The Married Woman." Georgia Review, vol. 30. 1976. pp: 706-24.

Braucourt, G.
"Godard and Mieville's Recent Experiments Debated." Jump Cut /18, Aug 78; p.8-9.
Two contrasting reviews of Godard's recent work: 'Ici et ailleurs' and 'Six fois deux'. Translated from 'Ecran' No 51.

Brody, Richard.
"An Exile in Paradise." New Yorker 2000 Nov 20, 76:35, 62-76.

Burgoyne, Robert.
"The Political Typology of Montage: The Conflict of Genres in the Film of Godard." Enclitic, vol. 7 no. 1. 1983 Spring. pp: 14-23.

Callenbach, Ernest.
"Reflexivity in film and literature: from "Don Quixote" to Jean-Luc Godard." Film Quarterly 39 n4 (1986): 50.

Canby, Vincent.
"He and She and Godard; He and She and Godard He, She, Godard." New York Times Feb 25, 1973. p. 105 (3 pages)
UC users only
Canby, Vincent.
"Godard--The Revolutionary As Revelation." New York Times Jun 1, 1980. p. D15 (2 pages)
UC users only

Cannon, Steve.
"Godard, the Groupe Dziga Vertov and the Myth of 'Counter-Cinema'." Nottingham French Studies, vol. 32 no. 1. 1993 Spring. pp: 74-83.

Carroll, Kent E.
"Film and Revolution: An Interview with Jean-Luc Godard." Evergreen Review 14:83 (1970:Oct.) 47

Cason, Franklin
"Look away!: political vision." New Art Examiner v 27 no3 Nov 1999. p. 28-31+
"Part of a special section on politically engaged art. The writer compares the work of three political artists: Jean-Luc Godard, Laura Mulvey, and Kara Walker. Jean-Luc Godard's latest work to come to the United States, For Ever Mozart, has raised questions about what makes an artwork "political." By setting this film in the context of war-torn Sarajevo, Godard seems intent to claim a certain political continuity in his work while making his audiences uncomfortable with its dense Postmodernist musing around such a devastating situation. Filmmaker and theorist Laura Mulvey has criticized Godard for abandoning the direct and easily recognizable political investigations and challenges of his early work. As a filmmaker and theorist, she has been central to the debates about political cinema. Kara Walker is a contemporary artist whose work potentially reenacts the space between Godard and Mulvey, their most hard-core political productions, and their current approach! es. Ultimately, her work complicates the idea of a stereotypical look for "political art." [ArtAbstracts]

Cason, Franklin
"Look away!: political vision." New Art Examiner v. 27 no. 3 (November 1999) p. 28-31+
" Part of a special section on politically engaged art. The writer compares the work of three political artists: Jean-Luc Godard, Laura Mulvey, and Kara Walker. Jean-Luc Godard's latest work to come to the United States, For Ever Mozart, has raised questions about what makes an artwork "political." By setting this film in the context of war-torn Sarajevo, Godard seems intent to claim a certain political continuity in his work while making his audiences uncomfortable with its dense Postmodernist musing around such a devastating situation. Filmmaker and theorist Laura Mulvey has criticized Godard for abandoning the direct and easily recognizable political investigations and challenges of his early work. As a filmmaker and theorist, she has been central to the debates about political cinema. Kara Walker is a contemporary artist whose work potentially reenacts the space between Godard and Mulvey, their most hard-core political productions, and their current approaches. Ultimately, her work complicates the idea of a stereotypical look for "political art."" [Art Index]

Chin, Daryl,
"The Film That We Wanted To Live": Re-releasing Modernist Movies PAJ: A Journal of Performance and Art - Volume 23, Issue 3 2001
UC users only
Includes discussion re-release of Band of Outsiders

Clouzot, Claire.
"Godard and the US." Sight and Sound 37.3 (1968): 110-14.

Cohen, Alain J. J.
"Godard/Lang/Godard - the Film-within-the-Film: Finite Regress and Other Semiotic Strategies." The American Journal of Semiotics, vol. 9 no. 4. 1992. pp: 115-29.

Combs, Richard
"Film for Video [Passion]." (Review). Sight & Sound LII/3, Summer 83; p.210-211.

Conaway, James
"Jean-Luc Godard wants to live for the Revolution, not die for it; The Godard style." New York Times Dec 24, 1972. p. SM20 (3 pages)
UC users only

Conomos, John
"The movement of shadows: video as electronic writing." Art and Design v 10 Nov/Dec 1995. p. 38-41
"Part of a special issue devoted to multimedia art. The writer examines the video works of Jean-Luc Godard and Chris Marker in the context of the metaphor of cinema and video as writing. Both Godard and Marker have created experimental videos that suggest the significant idea of video as "video stylo" writing in Postmodern techno-creativity. For them, video as electronic writing--as a means of creating and thinking live--represents a deconstructive reading of representation itself and lies at the heart of their highly autobiographically inflected work. In order to write their moving multilayered meditations on imagemaking, both have demonstrated a profound authorial and intertextual capacity to explore new sites in the image." [ArtAbstracts]

Conomos, John
"Only the Cinema."Senses of Cinema.

Cort, J.
"Gordard: Born Again Filmmaker." Rolling Stone, 331:32+ Nov. 28, 1990

Craven, Alice.
"Jean-Luc Godard's Refrain and the Question of Genre." Discours Social/Social Discourse: Analyse du Discours et Sociocritique des Textes/Discourse Analysis and Sociocriticism of Texts, vol. 1 no. 3. 1988 Winter. pp: 301-316.

Currie, R. H.
"Circles, Straight Lines, and Godard." Journal of Modern Literature, vol. 3 no. 2. 1973 pp: 228-240.

Darke, Chris.
"Hearing the Invisible." Sight and Sound,1997 Sept, 7:9, 35.

Dawson, Jan
"Raising the red flag- Godard's "British sounds."" Sight and Sound v 39 no2 Spring 1970. p. 90-1

Dieckmann, K.
"Godard in his "fifth period": an interview." Film Quarterly 39 n2 (1985): 2-6.

Dixon, Wheeler Winston.
"For ever Godard: notes on Godard's For Ever Mozart." (Jean-Luc Godard. Literature-Film Quarterly v26, n2 (April, 1998):82 (6 pages).
In spite of critical review, Jean-Luc Godard is again 30 years ahead of his time with the 1996 release of For Ever Mozart. The 85 minute film is a mix of sound and images filmed in available light. Godard's unconventional approach to filmmaking closes the door theatrical releases in the United States despite critical international acclaim.

Dieckmann, Katherine.
"Godard's Counter-memory." (film and video works of Jean-Luc Godard; Museum of Modern Art, New York, New York) Art in America v81, n10 (Oct, 1993):65 (2 pages).
Godard is best known for his contributions to the New Wave cinema of the early 1960s, but the retrospective of his works at the Museum of Modern Art proves that he is still making thought-provoking works. Godard's recent films and videos tend to blur the line between fantasy and history.

Dieckmann, Katherine.
"Godard in his 'Fifth Period'."(Interview). Film Quarterly XXXIX/2, Winter 85-86; p.2-6. illus.
Godard talks about his life and work, esp. "Je vous salue, Marie".
UC users only

Dixon, Wheeler Winston.
"For Ever Godard: Notes on Godard's For Ever Mozart." Literature-Film Quarterly v26, n2 (April, 1998):82 (6 pages).
In spite of critical review, Jean-Luc Godard is again 30 years ahead of his time with the 1996 release of For Ever Mozart. The 85 minute film is a mix of sound and images filmed in available light. Godard's unconventional approach to filmmaking closes the door theatrical releases in the United States despite critical international acclaim.

Eco, Umberto.
"Do-it-yourself Godard." Harper's Magazine v286, n1716 (May, 1993):24 (2 pages).
Humorous instructions on making a film in the style of Jean-Luc Godard are presented. The instructions include a basic scenario and interchangeable variations on plot elements.

Erb, Cynthia.
"The Madonna's Reproduction(s): Mieville, Godard, and the Figure of Mary." Journal of Film and Video v45, n4 (Winter, 1993):40 (17 pages).
Considers the depiction of the Madonna in Godard's "Je vous salue, Marie" and Mieville's "Le livre de Marie", which appeared at the same time as a resurgence of in interest in the myth, from both traditional religious and progressive feminist quarters.

Faccini, D.
"Godard's Nouvelle Vague." Sight & Sound LIX/4, Autumn 90; p.274-275.
Advises audiences to take a non-interpretative viewing of Godard's latest film.

Farocki, Harun; Silverman, Kaja.
"In Her Place."Camera Obscura 1996 Jan, 37, 93-122.

"In an excerpt taken from a book-in-progress about eight films by Jean-Luc Godard, the writers discuss Godard's film Numero deux. Depicting the domestic life of a proletarian family living in a social housing apartment, the film is concerned with sexual difference and the family. Godard, focusing relentlessly on the ordinary, allows the audience to see that even the most routine bodily functions and household activities are semantically dense. One of the film's themes is the metaphorical "seeing" and "showing" of sexuality; although there is repeated exposure of genitalia, the body is always expressed as a displaced signifier for social, psychic, and economic relations. Reminding the audience how inadequately feminism has traditionally addressed the many differences that transect sexual difference, the film shows that sexuality is the site at which all forms of repression are felt the most fully and where they become the most legible." [Art Index]

Feinstein, Herbert.
"Jean-Luc Godard" (Interview). Film Quarterly 17:3 (1964:Spring) 8
UC users only

Forbes, Jill
"Jean-Luc Godard: 2 into 3." Sight and Sound v 50 no1 Winter 1980/1981. p. 40-5

Frodon, Jean-Michel
"Juste une conversation: Interview with Jean-Luc Godard." Cahiers du Cinema no. 590 (May 2004) p. 20-2
Part of a special section on the 2004 Cannes Film Festival. In an interview, French filmmaker Jean-Luc Godard discusses his latest film, Notre Musique, which is being screened at the festival. Subjects discussed include his appearance in the film; his relationship with Sarajevo, where the film is set; and the significance of the film's title.

Frodon, Jean-Michel
"Requiem pour une utopie." Cahiers du Cinema no. 613 (June 2006) p. 74-5
The writer assesses the failed attempts to reinvent the aesthetics and possibilities of television, by Jean-Luc Godard, Roberto Rossellini, and Nam Jun Paik.

Gardner, Geoff
"The Godard Streak Or Absence Makes the Heart Grow Fonder." Senses of Cinema
UC users only

Georgakas, Dan
"Four from the New York Film Festival: 'Every Man For Himself'." (Review). Cineaste X/4, Fall 80; p.6-8.

Gervais, M.
"Jean-Luc Godard 1985 - These Are Not the Days."Sight & Sound LIV/4, Autumn 85; p.278-283. illus.
Consideration of Godard's two latest films (Hail Mary and Detective) in the light of his earlier work.

Gilliat, P.
"Profiles: The Urgent Whisper."New Yorker 52:47-50+ (1976:October)

Glynn, Stephen T
"Art, cinema and Paristitution: social context and visual narrative in Impressionist art and New Wave cinema." Word and Image v 12 July/Sept 1996. p. 291-307
"The writer compares Impressionism with French New Wave cinema. Each movement was initially labeled for journalistic convenience. Neither was a homogeneous school with a unified program and clearly defined principles or technique. Each almost entirely male group coalesced in Paris in reaction to a prevailing orthodoxy. Neither phenomenon would have been possible were it not for a corresponding revolution in their respective technologies. Part of the modernity of the New Wave can be attributed to the use of new lightweight Eclair Cameflex cameras, Nagra sound-recording technology, new lighting equipment, and fast film stock. These innovations allowed the new breed of directors to bypass the conventions of the despised "cinema de qualite" and capture existence on the move and in all its detail. Similarly, the effects of the introduction of screw-capped tubes of readymade paint from the 1830s onwards included making painting outdoors much easier. To support this argument, a number of films by Jean-Luc Godard are discussed." [ArtAbstracts]

"The Godard dossier." Screen (London, England) v. 40 no. 3 (Aut 1999) p. 304-47
"A special section on Jean-Luc Godard's audiovisual history of cinema, Histoire(s) du cinema. This enormously ambitious series of videos, completed in 1998, represents the realization and culmination of a project cherished and nurtured for nearly three decades: that of conceiving of film history through images and sounds. The special section features an introduction to the topic followed by articles on film criticism and social criticism in Godard's work, Godard's pronouncement of the "death" of cinema, the main argument presented in the four-volume art-book version of the work, and the potential role that Godard as a film historian might have in film pedagogy." [Art Index]

"Godard, Jean-Luc." Current Biography v54, n10 (Oct, 1993):17 (5 pages).

Godard, Jean-Luc
"Passion (love and work)."Camera Obscura /8-10, Fall 82; p.124-129.

Godard, Jean-Luc and Pauline Kael.
"The economics of film criticism: a debate." Camera Obscura n8/9/10 Fall (1982): 162-85.

Godard, Jean-Luc and Jacques Bontemps; Jean-Louis Comolli; Michel Delahaye; Jean Narboni;
"Struggle on Two Fronts: A Conversation with Jean-Luc Godard." Film Quarterly, Vol. 21, No. 2. (Winter, 1968 - Winter, 1969), pp. 20-35.
UC users only

Green, Mary Jean.
"Rochefort and Godard: Two or Three Things about Prostitution." French Review, vol. 52. 1979. pp: 440-48.
UC users only

Greene, Naomi.
"Godard and Surrealism." Dada/Surrealism, vol. 3. 1973. pp: 23-28.

Guerin, Marie Anne.
"Godard face aux lyceens." Cahiers du Cinema no552 Dec 2000. p. 18-19.
An extract from a panel discussion with filmmakers Jean-Luc Godard and Anne-Marie Mieville that took place on November 9, 2001, as part of the festival de Sarlat, France. Mieville's latest film, Apres la reconciliation, is discussed.

Habib, Andre.
"Before and After: Origins and Death in the Work of Jean-Luc Godard." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 16:(no pagination). 2001 Sept-Oct

Harrison, Jeffrey L.; Mashburn, Amy R.
"Jean-Luc Godard and Critical Legal Studies (Because We Need the Eggs)."
UC users only Michigan Law Review v87, n7 (June, 1989):1924-1944.

Hayes, Kevin J.
"Bookcover as intertitle in the cinema of Jean-Luc Godard." Visible Language v 34 no1 2000. p. 14-33
"Part of a special section on roles played by visible language. The 1966 film Deux ou trois choses que je sais d'elle marks a significant advance in the complexity of Jean-Luc Godard's visual references to books in his films. Godard had used many books in his earlier films, most as part of his mise-en-scene and thus part of the film's diegesis. In Pierrot Le Fou (1965), he tentatively incorporated a few extreme close-ups from bookcovers that were not part of the diegesis. Deux ou trois choses expands on this technique, as the words in the extreme close-ups of several bookcovers serve to interpret the images that precede and follow them. In a way, these book title words function similarly to the intertitles of silent films. Godard's use of the extradiegetic book became increasingly sophisticated in his films over the next few years, but by 1968, he began to question the value of print culture for expressing truth." [ArtAbstracts]

Henderson, Brian
"Godard on Godard: notes for a reading." Film Quarterly v 27 no4 Summer 1974. p. 34-46

Henderson, Brian
"Toward a non-bourgeois camera style; Godard." Film Quarterly v 24 no2 Winter 1970. p. 2-23

Hilliker, Lee.
"The History of the Future in Paris: Chris Marker and Jean-Luc Godard in the 1960s." (Critical Essay) Film Criticism v24, n3 (Spring, 2000):1.
UC users only

Hilliker, Lee
"The history of the future in Paris: Chris Marker and Jean-Luc Godard in the 1960s." Film Criticism v 24 no3 Spring 2000. p. 1-22
UC users only
"Two 1960s films that speculate on the future of French society--Chris Marker's La Jetee (1962) and Jean-Luc Godard's Alphaville (1965) --are discussed. Marker created his film, a half-hour meditation on time travel, the image, and death, using only black-and-white still photographs. His work wraps a severe and highly allusive critique of contemporary French culture in a genre hybrid that borrows codes from documentary and science fiction, a process that effectively renders the film's threat unrecognizable. Alphaville is a noir/science-fiction hybrid that transposes Godard's social critique into an allusive, traumatized futuristic version of contemporary Paris, while sidestepping direct representation of contemporary political material. Both films construct allusive and imaginative cinematic critiques that are rife with references to ideas of individual and social control and repression, both in relation to the image and to natural language." [ArtAbstracts]

Hoberman, J.
"Picasso, Marx, and Coca-Cola." (Jean-Luc Godard, P.S. 1 and Museum of Modern Art, New York, New York) ARTnews v92, n2 (Feb, 1993):57 (2 pages).
Two exhibitions featuring the films of Jean-Luc Godard, and art inspired by those films, are appearing in New York City. 'Postcards from Alphaville: Jean-Luc Godard in Contemporary Art' is at P.S. 1, and 'Jean-Luc Godard: Son + Image' is a retrospective at the Museum of Modern Art.

Hunter, Allan
"Aria." (Review). Films & Filming /397, Oct 87; p.28-29. illus., cred.
ARIA (UK, Nicolas Roeg & Charles Sturridge & Jean-Luc Godard & Julien Temple & Bruce Beresford & Robert Altman & Franc Roddam & Ken Russell & Derek Jarman & Bill Bryden, 1987)

Insdorf, A.
"A new Direction for the New Wave's Jean-Luc Godard" New York Times, 130:25+ (sect. 2) Oct. 12, 1980

Isaac, Dan
"Social gospel of St Jean-Luc Godard." Film Culture no48/49 Winter/Spring 1970. p. 49-52

James, Caryn
"Godard's Video Works." New York Times Oct 30, 1992. p. C16 (1 page)
UC users only

Kavanagh, Thomas M.
"Godard's Revolution: The Politics of Meta-Cinema." Diacritics, vol. 3 no. 2. 1973. pp: 49-56.
UC users only
Keller, Craig
"Jean-Luc Gordard." (Great Directors - A Critical Database) Seneses of Cinema

Kiernan, Maureen.
"Making Films Politically: Marxism in Eisenstein and Godard." Alif: Journal of Comparative Poetics, vol. 10. 1990. pp: 93-113 (1st sect.)
UC users only

Klawans, Stuart.
"Jean-Luc Godard: Son + Image." (Museum of Modern Art, New York, New York) Nation v255, n17 (Nov 23, 1992):642 (3 pages).

Koehler, Robert
"The many lives of French cinema's edgy iconoclast." Variety Mar 29-Apr 4, 2004. Vol. 394, Iss. 7; p. 91 (1 page)
UC users only

Kolker, Robert Phillip
"Angle and reality; Godard and Gorin in America." Sight and Sound v 42 no3 Summer 1973. p. 130-3

Koning, H.
"Godard's Passion." (Review). Cineaste XIII/1, 83; p.3.

Kolker, R. P.
"Angle and Reality: Godard and Gorin in America." Sight and Sound , vol. 42, n4. 1973. pp: 130-133

Kremer, Mark
"Godard drops his glasses."Kunst and Museumjournaal v 5 no6 1994. p. 33-8
" Jean-Luc Godard has always conceived of film as an art form that reflects the multifaceted nature of contemporary life. His 1960 film A bout de souffle was a portrait of a moment in time, giving a recognizable picture of the dreams and illusions of two young people. It also alluded to the rise of consumer culture, showing a cautious optimism that would be gone by the time of his 1967 Week-end. Godard made socially critical films between 1968 and 1972 but was to return to a personal basis for his art. He became concerned with the inflation of images, the basis of a trilogy of films featuring auteurs who are obsessed with an impossible project. His aim became the creation of contemporary forms from the same sort of passion that can be felt in the art of bygone ages. However, in his later films, Godard leaves paintings for what they are, historical allegories, and presents the here-and-now as an allegorical adaptation of the past." [ArtAbstracts]

Landy, Marcia
"Just an image: Godard, cinema, and philosophy." (Film and Television)(Critical Essay) Critical Quarterly Autumn 2001 v43 i3 p9(23)
"The films of Jean-Luc Godard encourage the audience to reaffirm their belief in the world, offering images subject to further inquiry. Many popular films contain little more resonance than postcards, but Godard's works investigate the nature of reality and portray the image as spectacle." [Expanded Academic Index]

Lesage, Julia.
"Godard and Gorin's left politics, 1967-72." Jump Cut: a Review of Contemporary Media n28 Apr (1983): 51-8.

Lesage, Julia.
"Visual Stancing in Godard." Wide Angle 1.3 (1976): 4-13.

Leutrat, Jean-Louis.
"Traces That Resemble Us: Godard's Passion." SubStance: A Review of Theory and Literary Criticism, vol. 15 no. 3 (51). 1986. pp: 36-51.

Lev, Peter.
"Godard's 'Cruel Muse'." Literature Film Quarterly 1998, 26:1, 76-78.

Loshitzky, Yosefa.
"More than Style: Bertolucci's Postmodernism versus Godard's Modernism." Criticism v34, n1 (Wntr, 1992):119 (24 pages).
"The films of Bernardo Bertolucci and Jean-Luc Godard illustrate the stylistic differences between postmodernism and modernism. In Godard's modernist films the illusion of reality is disrupted in order to call attention to cinematic means of representation. Bertolucci exhibits a postmodernist usage of spectacle and nostalgic quotation to explore issues of epistemology and representation." [Expanded Academic Index]

Luddy, Tom (et al).
"The Dziga Vertov Film Group in America: An Interview with Jean-Luc Godard and Jean-Pierre Gorin."Take One, March 1970.

Macbean, James R.
"Filming the Inside of His Own Head: Godard's Cerebral "Passion."" Film Quarterly 38:1 (1984:Fall) 16
UC users only

MacBean, J.R.
"Godard and the Dziga Vertov Group: Film and Dialectics." Film Quarterly XXVL/1, Fall 72; p.30-44.
Discussion of the relationship between Godard and the revolutionary Dziga Vertov Group and how it has affected his films. Incl. analyses of "Pravda", "Lotte in Italia" and "Vladimir et Rosa".

MacBean, J.R.
"Filming the Inside of His Own Head: Godard's Cerebral Passion." Film Quarterly XXXVIII/1, Fall 84; p.16-24. bibliogr.
Discusses Godard's "Passion" which is created around images of famous paintings.

MacBean, J.R.
"See you at Mao; Godard's revolutionary British sounds." Film Quarterly v 24 no2 Winter 1970. p. 15-23

MacBean, J.R.
"An Open Letter to Godard." Jump Cut /31, Mar 86; p.8-12.
Attempts to explore the tone and the meaning of the film.

MacCabe, Colin
"Betaville: Jean-Luc Godard turned film inside out- now he's doing the same to video." American Film v 10 Sept 1985. p. 61-3

Marcorelles, Louis; Ernest Callenbach
"Jean-Luc Godard's Half-Truths." Film Quarterly Vol. 17, No. 3 (Spring, 1964), pp. 4-7
UC users only

Matte, K, et al.
"Let's See Where We Are: Interview with Jean-Luc Godard and Jean-Pierre Gornin" Velvet Light Trap n9:30-36 (Summer 1973)
UC users only

McCreary, Eugene C.
"Film and History: New Wave Cinema and '68." Film & History 1989 19(3): 61-68.
The films of French New Wave directors such as Jean-Luc Godard and FranÁois Truffaut embody many of the values of the students who took to the streets of Paris in 1968.

Mellen, J.
"Film and Style: The Fictional Documentary." Antioch Review 32 n3: 403-25 (1973)

Merrill, M.
"Black Panthers in the New Wave." Film Culture /53-54-55, Spring 72; p.134-145.
A detailed report on the showing of 'One Plus One' at London Film Festival; speeches made by Godard and Roud; interviews with Godard, Iain Quarrier, Richard Roud; appearance of Eldridge Cleaver.

Marcorelles, L.; H. Feinstein
"Jean-Luc Godard's half-truths: Interview with Jean-Luc Godard. Film Quarterly v 17 no3 Spring 1964. p. 4-10

Naremore, James.
"Authorship and the Cultural Politics of Film Criticism." (film criticism written by Jean-Luc Godard) Film Quarterly v44, n1 (Fall, 1990):14 (9 pages).

Nevers, Camille; Vatrican, Vincent
"French connection: entretien avec Jean-Pierre Gorin." Cahiers du Cinema no476 Feb 1994. p. 60-3
"An interview with film director Jean-Pierre Gorin. Gorin is generally best remembered for his work in collaboration with Jean-Luc Godard 20 years ago, but he has since continued to produce some very interesting films as well as teaching cinema studies in California. Topics addressed include his teaching; his work as a film producer; and his films, which always question American identity." [ArtAbstracts]

Norton, Glen W.
"Nostalgia for the Present: The Godard Renaissance Continued." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 35, pp. (no pagination), Spring 2005.

Nowell-Smith, Geoffrey.
"Paris match: Godard and Cahiers." (French cinema after World War II) Sight and Sound v11, n6 (June, 2001):19 (4 pages).
An overview is presented of cinema in France after the close of World War II. For a five year period after the fall of France in 1940, there had been no United States film imports, however from 1946 a deluge of foreign films

Orlean, Matthieu
"La resistance au texte: Pasolini vs Godard" (Pesaro conferences of 1966 and 1971) Cahiers du Cinema special issue 1998. p. 83-4
"Part of a special issue on film and politics in France in 1968. A discussion on Pier Paolo Pasolini and Jean Luc Godard's disagreements about cinematographic language at a conference in Pesaro, Italy, in 1966 and through Italian magazines in 1971. The writer details the argument, which was about semiology: Godard denounced excessive semiology as a creator of norms and codes that smother cinema; Pasolini disagreed with the idea that semiology can be an instrument of sabotage." [ArtAbstracts]

Osteen, Mark.
"Children of Godard and Coca-Cola: Cinema and Consumerism in Don DeLillo's Early Fiction." Contemporary Literature, vol. 37 no. 3. 1996 Fall. pp: 439-70.

Oxenhandler, Neal
Intimacy and distance in the cinema of Jean-Luc Godard." Symposium 27:2 (1973:Summer) 152

Paige, Nicholas
"Bardot and Godard in 1963." (Historicizing the Postmodern Image) Representations, vol. 88, pp. 1-25, Fall 2004.
"Considers the work of the French filmmaker Jean-Luc Godard. The author examines the difference between modernism and postmodernism by regarding A Pair of Boots by Vincent van Gogh and Diamond Dust Shoes by Andy Warhol, discusses the thoughts of art critic Frederic Jameson, and describes the film Le MÈpris (1963) by Godard. He summarises the opinions of critics, explores the film Bande · Part (1964), and reviews Passion (1981), Histoire du CinÈma (1998), Une Femme MariÈe (1964), Masculin FÈminin (1966), and 2 ou 3 Choses Que Je Sais d'Elle (1966). He examines the films A Bout de Souffle (1959), Le Petit Soldat (1960), Une Femme Est Une Femme (1961), Les Carabiniers (1963), and Alphaville (1965) all by Godard, compares the thrust of Godard's work to the films made by Orson Welles entitled The Lady From Shanghai and Touch of Evil, and lists examples of other directors who have examined Hollywood through film, including Billy Wilder, Joseph Mankiewicz, George Cukor, and Robert Aldrich. He explores the sense of historical setting, considers whether Godard can be considered Postmodern, and concludes that the filmmaker makes the audience address what Postmodernism might mean." [Art Bibliographies Modern]

Pearce R.
"Seeing as a Political Act: Godard's Pre-Revolutionist Films from 'Breathless' to 'Weekend'."Performance [New York] 1: 7-123, May/June 1973

Pennebaker, D.A.
"Looking Back.... (film directors Robert Flaherty, Michael Powell and Jean-Luc Godard)" Sight and Sound v7, n4 (April, 1997):61.
Robert Flaherty, Robert Powell and Jean-Luc Godard were three great directors. In 'Nanook of The North,' Flaherty courageously made a film about a person he had liked instead of doing what was dictated to him, as was the norm during his time. Powell's 'Night Mail' and 'Target for Tonight' were remarkable because they had such a strong concept. Finally, Godard impressed because of his irreverence and his disregard of convention.

Perez, Gilberto.
"Bell-bottom Blues." (film director Jean-Luc Godard) Nation v252, n6 (Feb 18, 1991):209 (4 pages).
UC users only

Perez, Gilberto.
"Godard's Tenderness." Raritan: A Quarterly Review, vol. 6 no. 1. 1986 Summer. pp: 63-83.

Petrie, G.
"Dickens, Godard, and the Film Today." Yale Review, vol. 64, n2 1974 pp: 185-201.

Phelps, Guy
"'What's Opera, Don?'" Sight & Sound LVI/3, Summer 87; p.188-192.
ARIA (UK, Nicolas Roeg & Charles Sturridge & Jean-Luc Godard & Julien Temple & Bruce Beresford & Robert Altman & Franc Roddam & Ken Russell & Derek Jarman & Bill Bryden, 1987)

Price, Brian.
"Plagiarizing the Plagiarist: Godard Meets the Situationists." Film Comment v33, n6 (Nov-Dec, 1997):66
UC users only
"Central to Jean-Luc Godard's 1968 film Le Gai Savoir is his use of detournement, a Situationist practice whereby familiar images are taken from their original sources and placed in new, ever-changing combinations. The Situationists, a group of revolutionary artists, reacted by accusing Godard of plagiarism, even though they encouraged plagiarism as the ultimate resistance to the capitalist concept of ownership and originality. Just as Situationist leader Guy Debord had prompted readers of his manifesto, La Societe du Spectacle, to plagiarize his text, Godard offered Le Gai Savoir as a blueprint of formal experiments for future filmmakers to use in the production of a political cinema without diffusing their effect in spectacle." [ArtAbstracts]

Price, James.
"A Film Is a Film: Some Notes on Jean-Luc Godard." Evergreen Review 9:38 (1965:Nov.) 46

Rainer, Yvonne.
"More kicking and screaming from the narrative front/backwater." Wide Angle 7 n1/2 (1985): 8-12.

Ranciere, Jacques; Tesson, Charles.
"Jean-Luc Godard: une longe histoire." Cahiers du Cinema no557 May 2001. p. 28-36.

Raven, Charlotte
"A girl and a gun." (Jean-Luc Godard) New Statesman (1996) August 27, 2001 v130 i4552 p26
UC users only

Reader, K.
"Leaud and Godard: Beyond the revolution." Sight & Sound v. ns16 no. 10 (October 2006) p. 39
UC users only
"The film career of actor Jean-Pierre Leaud is discussed. Although Leaud is most closely associated with the director Francois Truffaut, he has actually played in more feature films by Jean-Luc Godard. The manic quality that is so typical of Leaud's acting has a tragic undertone that is more evident in his roles for Godard than in the Truffaut work for which Leaud is most likely to be remembered." [Art Index]

Ricciardi, A.
"Cinema regained: Godard between Proust and Benjamin." Modernism - Modernity v. 8 no. 4 (November 2001) p. 643-61
"The writer recognizes the influence of Marcel Proust and Walter Benjamin in Jean-Luc Godard's film Histoire(s) du cinema. This film ought to be regarded as an "involuntary" adaptation of Proust's novel `A la recherche du temps perdu, while Godard's methodology and ideology betray a close proximity to Walter Benjamin's last works, The Arcades Project and Theses on the Philosophy of History. By developing a cinematic vocabulary that is capable of encompassing the Benjaminian antipodes of messianic hope and materialist critique, Godard ultimately reaches a truly Proustian relation to the past, a model of remembrance that is neither nostalgic nor mechanical. Histoire(s) du cinema imagines the resurrection of history through the recuperation of an idea of film that has been destroyed by the ascendancy of mass entertainment, and this recovery can only be achieved in a Proustian spirit of receptivity to the involuntary." [Art Index]

Rickey, Carrie
"Popcorn and canvas." Artforum v 22 Dec 1983. p. 64-9
Includes: Godard, Jean Luc: p. 64-9; Coppola, Francis Ford: p. 67-9; Akerman, Chantal: p. 69; Wajda, Andrzej: p. 69

Ridingrolle, Alan
"What's in a Name if the Name Is Godard?" New York Times Oct 25, 1992. p. H11 (2 pages)
UC users only

Rodowick, David.
"Modernism, epistemology and politics." Millennium Film Journal n16/17/18 Fall/Winter (1986): 126-37.

Rosenbaum, Jonathan.
"Godard: Anarchy or Order?" New York Times Mar 24, 1968. p. D11 (1 page)
UC users only

Rosenbaum, Jonathan.
"Godard in the Nineties: An Interview, Argument and Scrapbook." Film Comment v34, n5 (Sept-Oct, 1998):52 (8 pages).
Filmmaker Jean-Luc Godard discusses his politically motivated films, and his own role as a film critic. Godard now lives in the country and films rural scenes, which is in contrast to his early work. Godard's critical stance is informed by his early career, and remains essentially unchanged.

Rosenbaum, Jonathan.
"Jean-Luc, Chantal, Daniele, Jean-Marie and the Others." American Film, Feb 1979.
UC users only

Rosenbaum, Jonathan.
"Theory and practice; the criticism of Jean-Luc Godard." Sight and Sound v 41 no3 Summer 1972. p. 124-6

Rosenbaum, Jonathan.
"Le vrai coupable: two kinds of criticism in Godard's work." Screen (Great Britain) 40 n3 (1999): 316-322.
"Part of a special section on Jean-Luc Godard's audiovisual history of cinema, Histoire(s) du cinema. The writer discusses two kinds of criticisms in Godard's work. Godard has been interested in film criticism and social criticism since the beginning of his career, and both forms can be traced in relation to his commentaries on Alfred Hitchcock. In "Le cinema et son double," an article first published in 1957, and in "Le Controle de l'univers," which is the seventh episode of Histoire(s) du cinema (1988-98), he deals with Hitchcock's film The Wrong Man. The continuity between both articles is represented by a particular emphasis on two pivotal and highly charged scenes, one of which includes an event where the face of a character played by Henry Fonda merges with the face of the character of whose crime he was falsely accused. Godard is perhaps mapping out in his description of Fonda's face the idea of fiction and documentary forming a continuum, a notion that would inform his subsequent films politically as well as aesthetically." [Art Index]

Rowe, K.K.
"Romanticism, Sexuality, and the Canon." Journal of Film and Video XLII/1, Spring 90; p.49-65. illus., bibliogr.
Explores Godard's ambivalent treatment of women, esp. in "Passion", "Je vous salue, Marie" and the video 'Soft and hard - a soft talk between two friends on a hard subject', showing him as a twentieth-century heir to the Romantic movement.

Sarris, Andrew.
"Jean-Luc Godard Now." Interview.24.7 (1994): 84-89.

Sarris, Andrew
"Waiting for Godard, Resnais, and Fuller." Village Voice 80:41+ (1980:June 2, 1980)

"Scenes from the Wild Life of Jean-Luc Godard." Listener 25:2072 (1968:Dec. 12) 791

Shafto, Sally
"Filmmakers painting: the case of Jean-Luc Godard." Art Papers v 22 no5 Sept/Oct 1998. p. 24
UC users only
"The writer discusses the influence of painting on the films of Jean-Luc Godard. Godard, although not trained as a painter, was the filmmaker who most forcefully jump-started the phenomenon of the filmmaker working like a painter. His commitment to the visual has affected his filmmaking in a range of ways: For example, he declared himself uninterested in traditional storytelling in film, as if the many hours he spent watching films combined with how he watched them--in surrealistic shards--created a desire to make films in a radically new way. Godard's genius is to have revived cinema by incorporating painting into it." [ArtAbstracts]

Sharits, Paul J.
"Red, Blue, Godard." Film Quarterly, Vol. 19, No. 4. (Summer, 1966), pp. 24-29.
UC users only

Smith, Gavin
Jean-Luc Godard. (Interview) Film Comment March-April 1996 v32 n2 p31(9)
UC users only
"Godard gives his views over a wide range of topics about movies and television. He is both a critic and a moviemaker, seeing no separation between the two roles. His film, 'Histoire(s) du Cimema' is discussed from both a aesthetic and the technical view." [Expanded Academic Index]

Stam, Robert.
"The Lake, the Trees." (Jean-Luc Godard's new film Nouvelle Vague) Film Comment v27, n1 (Jan-Feb, 1991):63 (4 pages).

Sterritt, David
"Thanatos ex Machina: Godard Caresses the Dead Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema.

Sterritt David
"Speaking and Writing about Godard, a Response to Martha P. Nochimson and Paul Suttonvol." Film and Philosophy Vol. 4 No. 8, March 2000

"Struggle on Two Fronts: A Conversation with Jean-Luc Godard." Film Quarterly 22:2 (1968/1969:Winter) 20

"Ten questions to nine directors."
Sight and Sound v 33 no2 Spring 1964.
Includes: Godard, Jean Luc: p. 63; Kubrick, Stanley: p. 63; Olmi, Ermanno: p. 63; Wertm_uller, Lina: p. 64; Donner, Clive: p. 64-5; Strick, Joseph: p. 65; DELSOL, Paule: p. 65-6

Thomson, David
"Big fix (are directors under the influence of drugs or just modernism." Film Comment v 19 July/Aug 1983. p. 24-7+
Includes: Kinski, Nastassia: p. 25-6; Dean, James: p. 30; Hitchcock, Alfred: p. 30-1; Godard, Jean Luc: p. 31; Antonioni, Michelangelo: p. 31-2; Altman, Robert: p. 32

Toubiana, Serge
"Montage, notre beau souci: table ronde avec Claudine Bouche, Denise de Casabianca et Agnes Guillemot." Cahiers du Cinema nouvelle vague special issue 1998. p. 44-9
"Part of a special issue on the New Wave movement in motion pictures. A roundtable discussion with film editors Claudine Bouche, Denise de Casabianca, and Agnes Guillemot. Bouche edited Francois Truffaut's first films, de Casabianca edited Jacques Rivette's films, and Guillemot edited Jean-Luc Godard's films. Topics discussed include how they came to meet the filmmakers, the filmmakers' participation in the editing process, the hostility of mainstream cinema toward their editing style, and how the sound for the first New Wave films was entirely recorded in postproduction." [ArtAbstracts]

Rosenbaum, Jonathan.
"Godard in the Nineties: An Interview, Argument and Scrapbook." (Interview) Film Comment v34, n5 (Sept-Oct, 1998):52 (8 pages).
Filmmaker Jean-Luc Godard discusses his politically motivated films, and his own role as a film critic. Godard now lives in the country and films rural scenes, which is in contrast to his early work. Godard's critical stance is informed by his early career, and remains essentially unchanged.

Rosenbaum, Jonathan.Rosenbaum,-Jonathan.
"Le vrai coupable: Two Kinds of Criticism in Godard's Work." Screen, 1999 Autumn, 40:3, 316-22.

Rush, Michael.
"The enduring avant-garde: Jean-Luc Godard and William Kentridge." Performing Arts Journal, n60 (Sept, 1998):48 (5 pages).
UC users only
Experimental films by Jean-Luc Godard and William Kentridge are analyzed. The article discusses avant-garde works and their ability to evoke self-examination.

Skoller, Jeffrey.
"Reinventing Time Or The Continuing Adventures of Lemmy Caution in Godard's Germany Year 90 Nine Zero." (Review) Film Quarterly v52, n3 (Spring, 1999):35.
UC users only
"In Germany Year 90 Nine Zero, Jean-Luc Godard analyzes the fall of the Berlin Wall as a means of challenging the notion of the usefulness of history in understanding past and present events. Godard's story is based around the character of Lemmy Caution, played by Eddie Constantine, who wanders around East Berlin and environs after the fall of the wall, providing the filmmaker with a means of exploring a physical place. Through Caution's encounters with various characters and the intermixing of images from Germany's past, Godard creates a sense of the continual production and reproduction of the world. The gradual subsuming of Germany's past by Western capitalism is depicted by the destruction of the Berlin Wall, which, for Godard, indicated the possibility of difference." [ArtAbstracts]

Smith, Gavin.
"Jean-Luc Godard," (Interview) Film Comment v32, n2 (March-April, 1996):31 (9 pages).
"In an interview, director Jean Luc-Godard discussses his work and its relation to cinema. Godard regards cinema as a fallen medium and believes that Hollywood is no longer capable of making movies that fulfill their potential. He also considers himself incapable of doing the film he should be able to do, feeling himself to be capable only of aiming for it and making part of it. Other topics are discussed, including the relationship between cinema and painting, his "self-portrait" JLG/JLG, and the use of cinema's technical vocabulary." [ArtAbstracts]

Stoneman, Rod.
"Bon Voyage." (Jean-Luc Godard's passion for cinema and history) Sight and Sound v3, n7 (July, 1993):29.

Thomson, David .
"All you need is a girl and a gun." (Godard: A Portrait of the Artist at Seventy, by Colin MacCabe) The Nation Feb 9, 2004 v278 i5 p23
UC users only

"Trente ans depuis: Jean-Luc Godard; 15 article special section."
Cahiers du Cinema no437 Nov 1990 supp. p. 4-129

Walsh, M.
"'Aria' Operatunities." (Review). Film Comment XXIV/3, May-June 88; p.76-77.
ARIA (UK, Nicolas Roeg & Charles Sturridge & Jean-Luc Godard & Julien Temple & Bruce Beresford & Robert Altman & Franc Roddam & Ken Russell & Derek Jarman & Bill Bryden, 1987)

Waters, John
"Flock Shock."American Film XI/4, Jan-Feb 86; p.38-41. illus.
Comments on the religious controversy concerning "Je vous salue, Marie", and compares it with other films accused of blasphemy.

White, Armond and Smith, Gavin
"Double Helix. Jean-Luc Godard." (Article+Interview).Film Comment XXXII/2, Mar-Apr 96; p.26-32,35-41. illus.
"French New Wave director Jean-Luc Godard has continued to produce masterpieces, despite the decline in the number of audiences and critics willing to tolerate his brand of cinema. The great advances in narrativity and interpretation of culture and history in a number of his films have seldom received acknowledgment or discussion. Godard's 1980s filmmaking seems uncharacteristically pessimistic, even cranky, yet he also discovered a new visual elegance with cinematographer William Lubtchansky, and his experiments with editing, which is constantly fleet and complex, took on a new lilt. Helas pour moi (1993), Nouvelle Vague (1990), Histoire(s) du cinema, and JLG/JLG (1994) are discussed." [ArtAbstracts]

Williams, Alan.
"Godard's use of sound." Camera Obscura n8/9/10 Fall (1982): 192-209.

Willoquet Maricondi Paula.
"God, Art, and the Gospel: The Construction of the Heterosexual Couple According to Godard." Literature Film Quarterly, 1999, 27:4, 301-09.
This article discusses Jean-Luc Godard's representation and critique of masculinity and heterosexual male sexuality. Topics include the use of symbolism in his work, an analysis of the film 'Je vous salue! Marie', and the representation of the Oedipal complex.

Willis, D.
"Modernism: The Terror from Beyond Space."Film Comment 16: 9-15 (1980:Jan./Feb.)

Witt, Michael.
"On Gilles Deleuze On Jean-Luc Godard: An Interrogation Of "La Methode Du Entre." Australian Journal of French Studies [Australia] 1999 36(1): 110-124.
"The notion of the "mÈthode du ENTRE" or the "in-between," applied by Gilles Deleuze to the films of Jean-Luc Godard, has both scientific and political applications and provides a metaphor for Godard's idea of "image," as demonstrated in his Histoire(s) du CinÈma." [America History and Life)

Wood, Robin
"Jean-Luc Godard"New Left Review 39 (1966:Sept./Oct.) 77

Whalen, Tom.
"The Poetry of Negation: Godard's Les Carabiniers." New Orleans Review, vol. 19 no. 1. 1992 Spring. pp: 62-66.

White, Armond.
"Jean-Luc Godard." Film Comment v32, n2 (March-April, 1996):26 (5 pages).
UC users only
"Godard knew that the death of Francois Truffaut in 1984, ended the French Wave of movies. He began to change his perspective. His movie and video work during the 70s and the 80s are discussed. His powerful film 'Histoier(s) du Cinema' is a complicated look at the sociology of films." [Expanded Academic Index]

Woodward, Katherine S.
"European Anti-Melodrama: Godard, Truffaut, and Fassbinder." Post Script, vol. 3 no. 2. 1984 Winter. pp: 34-47.

Yakir, D.
"Godard: Return of the Master." New York, vol. 13 (Oct. 6, 1980) pp: 31-34.

Young, Colin
"Conventional-unconventional Film Quarterly v 17 no1 Fall 1963. p. 14-30

Zahm, Olivier.
"Fromanger/Godard: le cinema voit rouge." Beaux Arts Magazine no198 Nov 2000. p. 54-5.
"The writer discusses a short film by painter Gerard Fromanger and filmmaker Jean-Luc Godard on the occasion of an exhibition of Fromanger's work at Fiac 2000, Paris. Filmed during May 1968, the film depicts the red of the French tricolor gradually spreading across and swallowing up the rest of the flag. The film forms the basis of a work that would manifest itself through a series of chromatic combinations becoming more and more complex and rhizomic in the 1980s and 1990s." [Art Abstracts]

Reviews and Articles About
Individual Films in the MRC Collection

Alphaville

Brown, Royal S.
"Alphaville." (Review). Cineaste XXII/1, Apr 96; p.52. Reviewed upon its laser disc release.

Crowther, Bosley
"Screen: 'Alphaville,' Festival Picture, at the Paris; Godard's Film Spoiled by Shifting Its Gears Futuristic Spy Story Turns to Allegory ." New York Times Oct 26, 1965. p. 49 (1 page)
UC users only

Darke, Chris.
"It All Happened in Paris." Sight and Sound, vol. 4 no. 7. 1994 July. pp: 10-12.
"Alphaville, by Jean-Luc Godard, presents the director's most dystopian vision of Paris. Along with Metropolis, Blade Runner, and Akira, it is one of the definitive works in the cinema of dystopian cities. Each of these films proposes its vision of a dehumanized society as the corollary to technological progress within the style of its period. Alphaville is a modernist nightmare of post-Bauhaus functionalism where the curtain-walled skyscraper becomes the simultaneous symbol of progress and apocalypse. Perhaps the film has been rereleased in the knowledge that it is "low-risk" Godard, and in the hope that its collage of genres will transcend the specifics of time and place to which it is a response." [ArtAbstracts]

Godard, Jean Luc
"Alphaville."Sight and Sound ns10 no6 June 2000 supp. p. 19-102

Hilliker, Lee
"The history of the future in Paris: Chris Marker and Jean-Luc Godard in the 1960s." Film Criticism v 24 no3 Spring 2000. p. 1-22
"Two 1960s films that speculate on the future of French society--Chris Marker's La Jetee (1962) and Jean-Luc Godard's Alphaville (1965) --are discussed. Marker created his film, a half-hour meditation on time travel, the image, and death, using only black-and-white still photographs. His work wraps a severe and highly allusive critique of contemporary French culture in a genre hybrid that borrows codes from documentary and science fiction, a process that effectively renders the film's threat unrecognizable. Alphaville is a noir/science-fiction hybrid that transposes Godard's social critique into an allusive, traumatized futuristic version of contemporary Paris, while sidestepping direct representation of contemporary political material. Both films construct allusive and imaginative cinematic critiques that are rife with references to ideas of individual and social control and repression, both in relation to the image and to natural language." [ArtAbstracts]

Kasdan, Margo.
"Eluard, Borges, Godard: Literary Dialectic in Alphaville." Symposium, vol. 30. 1976. pp: 1-13.

MacLean, R.
"Wittenstein and Godard's Alphaville." Sight and Sound.v47.n1.Winter 1977/78 p.Winter 46-49. Analysis with reference to Wittgensteins's Tractatus Logico-Philosophicus.

"Alphaville"
Wide Angle.v1.n3.1976 p.18-19.

Kasdan, Margo.
"Éluard, Borges, Godard: Literary Dialectic in "Alphaville."" Symposium 30:1 (1976:Spring) 1

Perez, Gilberto.
"Godard's Tenderness." Raritan: A Quarterly Review, vol. 6 no. 1. 1986 Summer. pp: 63-83.

Roud, Richard
"Anguish: Alphaville." Sight and Sound ns10 no6 June 2000 supp. p. 9-18
"Introduction to the screenplay of Jean-Luc Godard's Alphaville. Although the film's plot is pure science-fiction comic strip, it is impressive in its great refinement and plastic beauty of its style. In this work, more than any other film, Godard has achieved the most complete degree of correlation between vehicle and content, between style and subject." [ArtAbstracts]

Thiher, Allen
"Postmodern Dilemmas: Godard's Alphaville and Two or Three Things That I Know about Her." Boundary 2, Vol. 4, No. 3. (Spring, 1976), pp. 947-964.
UC users only

Thomas, John.
"Alphaville." Film Quarterly 20:1 (1966:Fall) 48

Band of Outsiders (Band apart)

"'Band of Outsiders'." (review) New York Times Mar 16, 1966. p. 48 (1 page)
UC users only

Lopate, Phillip
"With a girl, a gun and a dreamy dance, a gift from Godard; 'Band of Outsiders' cast a spell in 1964 and influenced a generation of innovative directors. (re-release of the movie in a new print)The New York Times August 12, 2001 s0 pAR11(N) pAR11(L) col 1 (35 col in)
UC users only

Simon, John and Peter Rainer
"Band of Outsiders." (movie review) , New York Sept 10, 2001 v34 i34 p199(1)

Breathless

Baumbach, T.
"Jean-Luc Godard. "Breathless" revisited." In: Great film directors : a critical anthology / edited by Leo Braudy and Morris Dickstein New York : Oxford University Press, 1978
Main Stack PN1998.A2.G74

Breathless: Jean-Luc Godard, Director
Dudley Andrew, editor. New Brunswick [N.J.]: Rutgers University Press, c1987. Series title: Rutgers films in print; v. 9.
UCB Main PN1997 .A23 1987
UCB Moffitt PN1997 .A23 1987

Dawson, Jonathan.
"A bout de souffle." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 19:(no pagination). 2002 Mar-Apr

"Breathless" Films in Review.v12.n3.March 1961 p.175.

Falkenberg, Pamela.
"'Hollywood' and the 'Art Cinema' as a Bipolar Modeling System: A Bout de Souffle and Breathless." Wide Angle, vol. 7 no. 3. 1985. pp: 44-53.

Groce, Arlene.
"Breathless." Film Quarterly 14:3 (1961:Spring) 51

Marcorelles, Louis
"Views of the New wave: Godard's A Bout de Souffle." Sight and Sound v 29 no2 Spring 1960. p. 84-5

Marie, Michel
A bout de souffle: Jean-Luc Godard / etude critique de Michel Marie. Paris: Nathan, 1999. Series title: Synopsis (Paris, France); 34.
UCB Main PN1997.A23 M37 1999

Marie, Michel.
Comprendre Godard : travelling avant sur ?A bout de souffle et Le mepris Paris : Colin, 2006. DD>MAIN: PN1998.3.G63 M37 2006

Marie, Michel.
"'It Really Makes You Sick'! Jean-Luc Godard's A bout de souffle (1959)." In: French film: texts and contexts / edited by Susan Hayward and Ginette Vincendeau. 2nd ed. pp: 158-73 London; New York: Routledge, 2000.
Main Stack PN1993.5.F7.F74 2000

Marie, Michel.
"Jean-Luc Godard's A bout de souffle (1959)." In: French film, texts and contexts / edited by Susan Hayward and Ginette Vincendeau. London ; New York : Routledge, 1990.
Main Stack PN1993.5.F7.F74 1989

Naremore, James.
"Film and the Performance Frame."Film Quarterly 38:2 (1984/1985:Winter) 8.
Discusses Chaplin's first appearance as the tramp ("Kid auto races at Venice") and how it led to a style in film acting which is traceable to later films, e.g. "A bout de souffle" and "Nick's movie".

Radcliff-Umstead, Douglas.
"France and America: The Fatal Affair in Godard's Breathless." In: Sex and Love in Motion Pictures: proceedings of the Second Annual Film Conference of Kent State University, April 11, 1984 / edited by Douglas Radcliff-Umstead. pp: 32-40. [Kent, Ohio]: Romance Languages Dept., Kent State University, c1984.
UCB Main PN1995.9.S45 F551 1984

Selous, Trista.
"Death of a Hero, Birth of a Cinema: Or, Who or What is A Bout de Souffle?" L' Esprit Createur, vol. 35 no. 4. 1995 Winter. pp: 18-27.

Smith, Steve.
"Godard and Film Noir: A Reading of A Bout de Souffle." Nottingham French Studies vol. 32 no. 1. 1993 Spring. pp: 65-73.

Sterritt, David.
"40 years ago, 'Breathless' was hyperactive anarchy: now it's part of the canon." Chronicle of Higher Education v46, n31 (April 7, 2000):B7 (2 pages).
Jean-Luc Godard's film "Breathless" is being rereleased in the US to mark its 40th anniversary, and its style was at first significantly controversial. In retrospect, this motion picture has come to epitomize energy, realism, self-consciousness, and uncertainty about the future.

Thomson, David.
"That breathless moment." (rerelease of French director Jean-Luc Godard's film "Breathless")(Cover Story) Sight and Sound v10, n7 (July, 2000):28 (4 pages).
UC users only
"Jean-Luc Godard's groundbreaking first film, A bout de souffle (Breathless), was ahead of its time in its absolute modernity. It was marked by a gnawing awareness of the nature of film, tinged already with a kind of contempt or dismay; a slightness of story or incident and a bravura novelty in its telling; a use of handheld camera and jump cuts, lightweight shooting, and a spill of natural light; and, above all, an artful, cool dodging of any feeling of monumental embrace. Godard was central to the new wave of cinema, so much so that nearly all other films could be taken as proofs of his criticism, illustrations of his theories, and gestures toward his own brazen attempts at film. Extraordinarily prolific, producing 13 films in 8 years, Godard is one of the most important of directors and the crucial visionary for an age in which film has yielded to video and worse." [ArtAbstracts]

Turner, Dennis.
"Breathless: Mirror Stage of the Nouvelle Vague." SubStance: A Review of Theory and Literary Criticism, vol. 12 no. 4 (41). 1983. pp: 50-63.

Wills, David.
"The French Remark: Breathless and Cinematic Citationality." In: Play It Again, Sam: Retakes on Remakes./ edited by Andrew Horton and Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 147-61 Berkeley: University of California Press, c1998.
Media Center PN1995.9.R45.P58 1998
Main Stack PN1995.9.R45.P58 1998

Comment Ça Va?

Augst, Bertrand
""Comment Ça Va"?" Camera Obscura 2 (1977:Fall) 107

Canby, Vincent.
"Film: 'Comment Ca Va?' Opens Godard Festival." New York Times Mar 10, 1982. p. C22 (1 page)
UC users only

Hamrah, A.S.
"Ici et Ailleurs (Here and Elsewhere), Numero Deux (Number Two) and Comment Ça Va (How's it Going)?" (video recording reviews) Utne Reader, n73 (Jan-Feb, 1996):114 (2 pages).

Hayes, Kevin J.,
"Godard's Comment Ça Va? (1976): From Information Theory to Genetics." Cinema Journal - Volume 41, Issue 2 2002
UC users only
"Despite its poignancy and its wide-ranging cultural implications, Comment «a Va (1976) remains one of Jean-Luc Godard's least-known films. Using technological theories of communication and applying new discoveries in genetics, Godard tells a self-reflexive story about a newspaperman's effort to make a video about the newspaper business and to make contact with his son that amounts to a virtual meta-essay on the communication process." [Project Muse]

Kaplan, E. Ann and Jeff Halley.
"One plus one: ideology and deconstruction in Godard's "lci et ailleurs" and "Comment ca va"." Millennium Film Journal n6 Spring (1980): 98-102.

La Chinoise

Anderegg, Michael.
"A Documentary Fantasy: Jean-Luc Godard's La Chinoise." North Dakota Quarterly, vol. 50 no. 2. 1982 Spring. pp: 31-40.

Aumont, Jacques.
"This is Not a Textual Analysis." (Godard's La chinoise). (Article). Camera Obscura /8-10, Fall 82; p.130-161.
Textual analysis of a section of "La chinoise".

Christensen, Peter G.
"Dostoevski and Jean-Luc Godard: Kirillov's Return in La Chinoise." In: Dostoevski and the Human Condition After a Century / edited by Alexej Ugrinsky, Frank S. Lambasa, and Valija K. Ozolins. pp: 145-154. New York: Greenwood Press, 1986. (Series: Contributions to the study of world literature, no. 16)
Main Stack PG3328.Z6.D57 1986;
Moffitt PG3328.Z6.D57 1986

Christensen, Peter G.
"Jean-Luc Godard's Use of Goethe's Wilhelm Meister Novels in La Chinoise." In: Goethe in the Twentieth Century / edited by Alexej Ugrinsky. pp: 13-20; New York: Greenwood Press, c1987. Contributions to the study of world literature; no. 17 (Main Stack PT2189.G641 1987)

Christensen, Peter G.
"Jean-Luc Godard's La Chinoise and the Work of Paul Nizan." New Zealand Journal of French Studies, vol. 6 no. 2. 1985 Nov. pp: 37-53.

Macbean, James Roy
"Politics and Poetry in Two Recent Films by Godard." Film Quarterly, Vol. 21, No. 4. (Summer, 1968), pp. 14-20.
UC users only

Contempt

Aumont, Jacques.
"The Fall of the Gods: Jean-Luc Godard's Le Mepris (1963)." In: French film: texts and contexts / edited by Susan Hayward and Ginette Vincendeau. 2nd ed. pp: 174-88 London; New York: Routledge, 2000.
Main Stack PN1993.5.F7.F74 2000

Bersani, Leo.
Forms of being : cinema, aesthetics, subjectivity London : BFI, 2004.
GRDS: PN1995 .B36 2004
MAIN: PN1995 .B36 2004

Brown, Royal S.
"Contempt." (Homevideo). (Movie Review) Cineaste Spring 2003 v28 i2 p51(3) (2037 words)
UC users only

Coates, Paul.
"'Le Mepris': Women, Statues, Gods." Film Criticism v22, n3 (Spring, 1998):38 (13 pages).
UC users only
"The writer discusses the theme of separation in Jean-Luc Godard's movie Le Mepris (Contempt). Like the world of Moravia's Il Disprezzo, the novel on which the movie is based, Godard's world is one of overdetermined division: head against heart, intellectual against working class, art versus life, speech versus silence, language versus image, masculine against feminine, and modern against ancient. As these oppositions or separations interlock endlessly, one cannot ascribe determining force to any single one without mystifying the film by treating only one level of its preoccupations. The writer goes on to discuss Brechtian aspects of the movie--such as its color-coding--and its references to classical mythology." [ArtAbstracts]

Cohen, Alain J. J.
"Godard/Lang/Godard - the Film-within-the-Film: Finite Regress and Other Semiotic Strategies." The American Journal of-Semiotics 1992, 9:4, 115-29.

Corliss, Richard.
"Contempt." (movie reviews) Time v150, n5 (August 4, 1997):67 (2 pages).

Crowther, Bosley
"Screen: 'Contempt' Opens at Lincoln; Jean-Luc Godard Film Lacks His Style Bardot and Palance in Well-Drawn Roles." New York Times Dec 19, 1964. p. 25 (1 page)
UC users only

Films in Review. v16.n1.January 1965 p.51. Review

Films and Filming.v16.n10.July 1970 p.40-41. Review

Kehr, Dave.
"Contempt" (motion picture review) Film Comment v. 33 (Sept./Oct. '97) p. 18-22+
UC users only
"In Contempt, Jean-Luc Godard produced one of the defining moments of modernist filmmaking. The film takes place amid the smoldering ruins of the studio system, creating much of the language and spirit of the new cinema, even as it profoundly and seriously mourns the loss of the old. It slips from filial loyalty to Oedipal revolt and from allegiance to a unified classical system to an angry impatience to get on with the new. With its wide-screen image, multilingual soundtrack, and dazzling, pop-art colors all restored, Contempt is now set to retake its place in film history as the richest work of Godard's first period and possibly the most complete and satisfying film of his entire career." [ArtAbstracts]

Kehr, Dave.
"Contempt." (movie reviews) Film Comment v33, n5 (Sept-Oct, 1997):18 (6 pages).

Kinder, Marsha.
"A Thrice-Told Tale: Godard's Le Mepris." In: Modern European Filmmakers and the Art of Adaptation/ edited by Andrew Horton and Joan Magretta. pp: 100-114. New York: F. Ungar Pub. Co., 1981. Series title: Ungar film library.
UCB Main PN1997.85 .M66
UCB Moffitt PN1997.85 .M66

Klawans, Stuart.
"Contempt." (movie reviews) Nation v265, n2 (July 14, 1997):36 (1 page).
UC users only

Lane, Anthony.
"Contempt." (movie reviews) New Yorker v73, n18 (July 7, 1997):78 (1 page).

Lev, Peter.
"Art and Commerce in Contempt." New Orleans Review, vol. 15 no. 3. 1988 Fall. pp: 44-48.

Lopate, Phillip
"Contempt: the story of a marriage." In: Totally, tenderly, tragically. Totally, tenderly, tragically: essays and criticism from a lifelong love affair with the movies / Phillip Lopate. p. 50-63. 1st Anchor Books ed. New York: Anchor Books/Doubleday, 1998.
UCB Main PN1995 .L627 1998

MacCabe, Colin
"Le Mepris/Il Disprezzo/Contempt." (Synopsis+Review). Sight & Sound VI/9, Sept 96; p.55-56.

Marie, Michel.
Comprendre Godard : travelling avant sur ?A bout de souffle et Le mepris Paris : Colin, 2006. DD>MAIN: PN1998.3.G63 M37 2006

O'Healy, Aine.
"Re-Envisioning Moravia: Godard's Le Mepris and Bertolucci's Il Conformista." Annali d'Italianistica, vol. 6. 1988. pp: 148-161.

Sight and Sound. v39.n3.Summer 1970 p.Summer 163-164. Review

Sterritt, David
"Thanatos ex Machina: Godard Caresses the Dead."Senses of Cinema
UC users only

East Wind (Vent d'Est)

Canby, Vincent
"Godard Film in Festival; 'Wind From the East' at Alice Tully Hall." New York Times Sep 12, 1970. p. 26 (1 page)
UC users only

MacBean, J.R.
"Vent d'est; or Godard and Rocha at the crossroads." Sight and Sound v 40 no3 Summer 1971. p. 144-50

MacBean, J.R.
"Vent d'Est or Godard and Rocha at the crossroads." In: Movies and methods : an anthology / edited by Bill Nichols. Berkeley : University of California Press, c1976
Main Stack PN1994.M71 Library has: v.1-2 (1976-1985)

Wollen, Peter.
"Godard and Counter Cinema: Vent D'Est." In: Film theory and criticism: introductory readings / edited by Leo Braudy, Marshall Cohen. 5th ed. pp: 499-507 New York: Oxford University Press, 1999.
Main Stack PN1994.M364 1999

Wollen, Peter.
"Godard and the counter-cinema: Vent d'Est." In: Movies and methods : an anthology / edited by Bill Nichols. Berkeley : University of California Press, c1976
Main Stack PN1994.M71 Library has: v.1-2 (1976-1985)

Wollen, Peter.
"Godard and the counter-cinema: Vent d'Est." In: Narrative, apparatus, ideology : a film theory reader / edited by Philip Rosen. New York : Columbia University Press, 1986.
Main Stack PN1995.N341 1986
Grad Svcs PN1995.N34 1986 Non-circulating; may be used only in Graduate Services.
Moffitt PN1995.N34 1986

Gai Savoir

Canby, Vincent
"Film Festival: 'Le Gai Savoir,' a Godard Abstract." New York Times Sep 29, 1969. p. 54 (1 page)
UC users only

Canby, Vincent
" Screen: Godard Treatise; 'Le Gai Savoir' Opens at the New Yorker." New York Times Jun 5, 1970. p. 22 (1 page)
UC users only

Kolker, Robert Phillip.
"Godard's Le Gai Savoir: A Filmic Rousseau?" Eighteenth-Century Life, vol. 11 (2) 1987 May. pp: 117-122.

Neupert, R.
"444,000 Images Speak for Themselves."Wide Angle IX/1, 87; p.50-58. In Gordard's films, esp. "Le Gai Savoir", photographic language and its code systems become the objects of formal scrutiny for the ways they both produce and deny meaning.

Price, Brian
"Plagiarizing the plagiarist: Godard meets the Situationists." Film Comment v. 33 (November/December 1997) p. 66-9
"Central to Jean-Luc Godard's 1968 film Le Gai Savoir is his use of detournement, a Situationist practice whereby familiar images are taken from their original sources and placed in new, ever-changing combinations. The Situationists, a group of revolutionary artists, reacted by accusing Godard of plagiarism, even though they encouraged plagiarism as the ultimate resistance to the capitalist concept of ownership and originality. Just as Situationist leader Guy Debord had prompted readers of his manifesto, La Societe du Spectacle, to plagiarize his text, Godard offered Le Gai Savoir as a blueprint of formal experiments for future filmmakers to use in the production of a political cinema without diffusing their effect in spectacle." [Art Index]

Hail Mary (Je Vous Salue, Marie)

Barrowclough, Susan
"Godard's Marie." Sight & Sound LIV/2, Spring 85; p.80.
Note on the controversy aroused by the film in France.

Canby, Vincent
"Godard's 'Hail Mary'." New York Times Oct 7, 1985. p. C16 (1 page)
UC users only

Chatterjee, Gayatri
"A failure to make contact." In: Jean-Luc Godard's Hail Mary : women and the sacred in film / edited by Maryel Locke and Charles Warren. p. 82-85 Carbondale : Southern Illinois University Press, c1993.
Main Stack PN1997.J36.J4 1993

Cax, Harvey
"Mariology; or, The feminine side of God." In: Jean-Luc Godard's Hail Mary : women and the sacred in film / edited by Maryel Locke and Charles Warren.p. 86-89 Carbondale : Southern Illinois University Press, c1993.
Main Stack PN1997.J36.J4 1993

Cunningham, Stuart; Harley, Ross
"Hail Mary." (motion picture review) Screen v 28 Winter 1987. p. 62-72

Cunningham, Stuart, Harley, Russ.
"ëScandal to the Jews, Folly to the Pagans: A Treatment for Hail Maryí."Continuum, 1(2), 1987.

Daney, Serge.
ëLa Theorrorise (pedagogie godardienne)í (translated as ëThe T(h)errorized (Godardian Pedagogy). Cahiers du Cinema, January 1976.

Dieckmann, Katherine.
"Godard in his 'Fifth Period'."(Interview). Film Quarterly XXXIX/2, Winter 85-86; p.2-6. illus.
Godard talks about his life and work, esp. "Je vous salue, Marie".
UC users only

Erb, Cynthia.
"The Madonna's reproduction(s): Mieville, Godard, and the figure of Mary." Journal of Film and Video v45, n4 (Winter, 1993):40 (17 pages).
Jean-Luc Godard's 'Je Vous Salue, Marie' and Anne-Marie Mieville's 'Le Livre de Marie' expound the Marian myth while presenting their own versions of Virgin Mary. Mieville uses traditional motifs of spatial movement and mediation to describe Mary's childhood. While Mieville's Mary is an active and thinking individual, Godard's character is passive by comparison.

Gervais, M.
"Jean-Luc Godard 1985 - These Are Not the Days."Sight & Sound LIV/4, Autumn 85; p.278-283. illus.
Consideration of Godard's two latest films (Hail Mary and Detective) in the light of his earlier work.

Gianvito, John
"Virgin soiled;