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

Baecque, Antoine de.
Godard : biographie / Antoine de Baecque. Paris : Grasset, 2010.
Main (Gardner) Stacks PN1998.3.G63 B343 2010

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

Campbell, Mark
"And God Created Karina, and the Recreated Bardot." In: French New Wave Pocket Essentials Great Britain: Harpenden, 2001
Full-text available online (UC Berkeley users only)

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

Chessa, Jacopo.
Jean-Luc Godard : Fino all'ultimo respiro / Jacopo Chessa. Torino : Lindau, c2005.
Main (Gardner) Stacks PN1997.A23 C47 2005

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.
Main Stack PN1998.3.G63 C56 2000
Contents: 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 cinéma / 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.

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 NRLF (UCB) PN1993 .C4 v.18 (1974)

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

Collet, Jean.
Jean-Luc Godard. Présentation par Jean Collet; textes de Jean-Luc Godard; extraits de films, documents, panorama critique, témoignages, filmographie, bibliographie, documents iconographiques. [Paris] Seghers [1963]
NRLF (UCB) PN1993 .C4 v.18

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

Dillon, Steven.
"Situating American film in Godard, Jarmusch, and Scorsese." In: The Solaris effect: art & artifice in contemporary American film / Steven Dillon. 1st ed. Austin : University of Texas Press, 2006.
Full text available [UCB users only]
MAIN: PN1993.5.U6 D47 2006

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

Douin, Jean Luc.
Jean-Luc Godard, dictionnaire des passions / Jean-Luc Douin. Paris : Stock, 2010.
Main (Gardner) Stacks PN1998.3.G63 D62 2010

Drabinski, John E.
Godard between identity and difference / John E. Drabinski. New York : Continuum, 2008.
Main (Gardner) Stacks PN1998.3.G63 D73 2008

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

Farber, Manny
"Jean-Luc Godard." In: Negative space; Manny Farber on the movies. New York, Praeger [1971]
Main (Gardner) Stacks PN1995 .F28

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.

Giannetti, Louis D.
Godard and others : essays on film form / Louis D. Giannetti. Rutherford [N.J.] : Fairleigh Dickinson University Press, c1975.
Main (Gardner) Stacks PN1995 .G481

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.
Godard/Kritiker : ausgewählte Kritiken und Aufsätze über Film (1950-1970) / Auswahl und Übersetz. Munich : Carl Hanser, c1971.
Main (Gardner) Stacks

Godard et le métier 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
Jean-Luc Godard ... articles, essais, entretiens. Paris, P. Belfond, 1968.
Main (Gardner) Stacks PN1998.A3 G56 A3

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 Cinéma / 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
[Herausgegeben von Thomas Koebner und Fabienne Liptay ; Gastherausgeber, Bernd Kie München : Edition Text + Kritik, 2010.
Main (Gardner) Stacks PN1998.3.G63 J35 2010

Jean-Luc Godard 2. Au-delà de L'image
Presenté 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, documents
[catalogue, collectif de direction, Nicole Brenez, ... et al. ; conception et coordination, Nicole Brenez]. Paris : Centre Pompidou, c2006.
Main (Gardner) Stacks PN1998.3.G63 J37 2006

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: 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: 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

Kovács, András Bálint.
"The Fragmented Form according to Godard." In: Screening modernism : European art cinema, 1950-1980 / András Bálint Kovács. Chicago : University of Chicago Press, c2007.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1993.5.E8 K68 2007

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

Lefèvre, Raymond
Jean-Luc Godard / Raymond Lefèvre. Paris : Edilig, [1983]
Main (Gardner) Stacks 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

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.
Main (Gardner) Stacks PN1998.A3G58 L41 1977

Liandrat-Guigues, S. (Suzanne)
Godard simple comme bonjour / Suzanne Liandrat-Guigues et Jean-Louis Leutrat. Paris : Harmattan, c2004.
Main (Gardner) Stacks PN1998.3.G63 L45 2004

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

Mandelbaum, Jacques
Jean-Luc Godard / Jacques Mandelbaum. Paris : Cahiers du cinéma, c2007.
Main (Gardner) Stacks PN1998.3.G63 M34 2007

Marie, Michel
Comprendre Godard : travelling avant sur À bout de souffle et Le mépris / Michel Marie. Paris : Colin, 2006.
Main (Gardner) Stacks PN1998.3.G63 M37 2006

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

Nemer, François.
Godard : le cinéma / François Nemer. Paris : Gallimard, 2006.
Main (Gardner) Stacks PN1998.3.G63 N46 2006

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

Penley, Constance
"Feminism and Femininity in Godard." In: The future of an illusion : film, feminism and psychoanalysis / Constance Penley. London : Routledge, 1989.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.W6 P461 1989
Moffitt PN1995.9.W6 P461 1989

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

Río, Elena del.
The technological imaginary in the cinema of Antonioni, Godard, and Atom Egoyan / by Elena del Río. 1996.
Main (Gardner) Stacks (NRLF)

Robinson, Jeremy
Jean-Luc Godard : the passion of cinema = le passion de cinéma / Jeremy Mark Robinson. Maidstone : Crescent Moon, 2009.
Main (Gardner) Stacks PN1998.3.G63 R63 2009

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

Roud, Richard.
Jean-Luc Godard. London, Secker & Warburg in association with the British Film Institute, 1967.
Main (Gardner) Stacks PN1993 .C45 v.1

Russell, Catherine
"Jean-Luc Godard: Allegory of the Body." In: Narrative mortality : death, closure, and New Wave cinemas Published: Minneapolis : University of Minnesota Press, c1995.
Full-text of this book available online [UC Berkeley users only]
MAIN: PN1995.9.D37 R87 1995
MOFF: PN1995.9.D37 R87 1995

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

Serrut, Louis-Albert.
Jean-Luc Godard, cinéaste acousticien : des emplois et usages de la matière sonore dans ses oeuvre Paris : L'Harmattan, c2011.
Main (Gardner) Stacks PN1998.3.G63 S47 2011

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

Smith, Alison
"The auteur as star: Jean-Luc Godard." In: Stardom in postwar France / edited by John Gaffney and Diana Holmes. New York : Berghahn Books, 2007.
Full text available online (UCB users only)

Sontag, Susan
"Godard." In: Styles of radical will / Susan Sontag New York : Farrar, Straus and Giroux, 1969

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 (Gardner) Stacks PN1994 .P6567 2001
Pacific Film Archive PN1994 .P6567 2001
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

Sontag, Susan
"Godard." In: Styles of radical will / Susan Sontag. New York : Picador USA, 2002.
Main (Gardner) Stacks AC8 .S6484 2002

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

Stam, Robert
Reflexivity in film and literature : from Don Quixote to Jean-Luc Godard / by Robert Stam. Ann Arbor, Mich. : UMI Research Press, c1985.
Main (Gardner) Stacks PN1995 .S675 1985
Moffitt PN1995 .S675 1985 c.11

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]

Alphandary, Idit
"Radical Hope or the Moral Imperative of Images in the Work of Susan Sontag and Jean-Luc Godard." Culture Unbound Volume 1, 2009s

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)

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.
UC users only
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.
UC users only

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.

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)
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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]

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.

Clouzot, Claire
"Godard and the US." Sight and Sound, 37:3 (1968:Summer) p.110
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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.

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)
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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.

Dabek, Ryszard
"Jean-Luc Godard: The Cinema in Doubt." M/C Journal, Vol. 14, No. 1 (2011) * Volume 14

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.
UC users only

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

Duncan, Sydney.
Portrait of the artist as a pun man: humor and its structures in the films of Jean-Luc Godard." New Review of Film & Television Studies, Dec2008, Vol. 6 Issue 3, p269-284, 16p
UC users only

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.

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.

Brian Fairlamb.
"Coping with contempt: (Jean-Luc) Godard's rejected male and his Hollywood prototypes." CineAction. 48 (Annual 1999) p30-41. Word Count: 8708. dd>UC users only

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 Numéro 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
UC users only

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.

Gergely, Gabor.
"Jean-Luc Godard's film essays of the 1960s: the virtues and limitations of realism theories." Studies in French Cinema, 2008, Vol. 8 Issue 2, p111-121, 11p
UC users only

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]

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

Godard, Jean-Luc
"For Himself: an interview." Framework Issue: 13 (1980:Autumn) p.8
UC users only

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

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

Grenier, Richard
"The Aging of the New Wave." Commentary Issue: 71:2 (1981:Feb.) p.61
UC users only

Guerin, Marie Anne.
"Godard face aux lyceens." Cahiers du Cinéma 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

Harcourt, Peter.
"Analogical thinking; Organizational strategies within the work of Jean-Luc Godard." (Critical essay) CineAction - Wntr 2008 i75 p20(4)
UC users only

Harcourt, Peter.
"Calculated approximations of probabilities: rhetorical strategies in the late films of Jean-Luc Godard." CineAction. 48 (Annual 1999) p8-17.
UC users only

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

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
UC users only

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

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

Israel-Pelletier, Aimée
"Godard, Rohmer, and Rancière's "Phrase-Image"." SubStance, Vol. 34, No. 3, Issue 108: French Cinema Studies 1920s to the Present (2005), pp. 33-46
UC users only

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).

Klinger, Gabe.
"The Old Soldier." Sight & Sound; Aug2011, Vol. 21 Issue 8, p52-55, 4p
UC users only
The article explores the biography and career of French filmmaker Jean-Luc Godard. Topics discussed include his engagement with political issues in his films, the use of found footage, and depictions of the Arab-Israeli conflict. Films noted include "Film Socialisme," "Night and Fog" (Nuit et brouillard"), and "Breathless" ("A bout de souffle").

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
UC users only

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]

Lack, Roland-François.
"The point in time: precise chronology in early Godard." Studies in French Cinema, 2003, Vol. 3 Issue 2, p101-109, 9p
UC users only

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.

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

Locke, Richard.
"On Jean-Luc Godard." Threepenny Review, Winter2010, Issue 120, p24-26, 3p

Loshitzky, Yosefa.
"More than Style: Bertolucci's Postmodernism versus Godard's Modernism." Criticism v34, n1 (Wntr, 1992):119 (24 pages).
UC users only
"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, J.R.
"Godard and the Dziga Vertov Group: Film and Dialectics." Film Quarterly XXVL/1, Fall 72; p.30-44.
UC users only
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.
"See you at Mao; Godard's revolutionary British sounds." Film Quarterly v 24 no2 Winter 1970. p. 15-23
UC users only

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

Madan, Anuja
"The language of emotion in Godard's films." CineAction. 80 (Spring 2010) p60
UC users only

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

Mauldin, Beth
"Searching for the revolution in America: French intellectuals, Black Panthers and the spirit of May '68." Critique; 36, no. 2 (Aug, 2008): 219-43, 25 p
UC users only

Mazierska, Ewa
"Searching for Alternatives: The Evolution of the Motif of Work in Jean-Luc Godard's Cinema in the Years 1972-1982." Studies in European Cinema, vol. 7, no. 3, pp. 209-220, 2010

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 François 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)
UC users only

Morrey, Douglas.
"The noise of thoughts: The turbulent (sound-)worlds of Jean-Luc Godard." Culture, Theory & Critique, Apr2005, Vol. 46 Issue 1, p61-74, 14p
UC users only

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

Morgan, Daniel
"The place of nature in Godard's late films." Critical Quarterly, Oct2009, Vol. 51 Issue 3, p1-24, 24p
UC users only

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
UC users only

Paige, Nicholas
"Bardot and Godard in 1963." (Historicizing the Postmodern Image) Representations, vol. 88, pp. 1-25, Fall 2004.
UC users only
"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 à Part (1964), and reviews Passion (1981), Histoire du Cinéma (1998), Une Femme Marièe (1964), Masculin Féminin (1966), and 2 ou 3 Choses Que Je Sais d'Elle (1966). He examines the films À 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]

Pavsek, Christopher
"What Has Come to Pass for Cinema in Late Godard" Discourse, 28.1, Winter 2006, pp. 166-195 (Article)
UC users only

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]

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

Río, Elena del.
"Alchemies of Thought in Godard's Cinema: Deleuze and Merleau-Ponty Alchemies of Thought in Godard's Cinema: Deleuze and Merleau-Ponty" SubStance, Vol. 34, No. 3, Issue 108: French Cinema Studies 1920s to the Present (2005), pp. 62-78
UC users only

Rodowick, David.
"Godard and Silence." Camera Obscura 3-4(2-3-1 8-9-10): 186-191 (1982)
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

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.

Ryder Hector Currie
"Circles, Straight Lines, and Godard." Journal of Modern Literature, Vol. 3, No. 2, Film as Literature and Language (Apr., 1973), pp. 228-240
UC users only

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.
"Artist as Christ/Artist as God-the-Father: Religion in the Cinema of Philippe Garrel and Jean-Luc Goddard." Film History, 2002, Vol. 14 Issue 2, p142, 16p
UC users only

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

Sheer, Miriam
"The Godard/Beethoven Connection: On the Use of Beethoven's Quartets in Godard's Films" The Journal of Musicology, Vol. 18, No. 1 (Winter 2001), pp. 170-188
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 Cinéma' 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

Uhde, Jan
"The Influence of Bertolt Brecht's Theory of Distanciation On The Contemporary Cinema, Particularly on Jean-Luc Godard." Journal of the University Film Association, Vol. 26, No. 3 (1974), pp. 28-30, 44
UC users only

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)

Watts, Philip
"Godard's Wars" L'Esprit Créateur, Volume 50, Number 4, Winter 2010, pp. 137-149 (Article)
UC users only

Westerbeck, Colin L., Jr.
"A Terrible Duty is Born." Sight and Sound, 40:2 (1971:Spring) p.80
UC users only

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.
UC users only

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 "méthode 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 Cinéma." [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.
Alphaville: Jean-Luc Godard, 1965 / Chris Darke. London ; New York : I.B. Tauris, 2005.
Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1997.A325 D37 2005

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

Gooch, Zachary
"Objectification as a Device in the Films of Godard and Breillat: Alphaville (1965) and Romance (1999)." Senior Thesis, Ohio State University. 2005-12

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.
UC users only

MacLean, R.
"Opening the Private Eye: 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.
UC users only

"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
UC users only

Utterson, Andrew.
"Tarzan vs. IBM: Humans and Computers in Jean-Luc Godard's Alphaville." Film Criticism, Fall2008, Vol. 33 Issue 1, p45-63, 19p
UC users only

Woolfolk, Alan
"Disenchantment and Rebellion in Alphaville." In: The philosophy of science fiction film Edited by Steven M. Sanders. Lexington, Ky. : University Press of Kentucky, c2008.
MAIN: PN1995.9.S26 P49 2008

Band of Outsiders (Band à part)

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

Becker, Svea; Williams, Bruce.
"A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard's Band of Outsiders." Cinemas, Spring2008, Vol. 18 Issue 2/3, p215-235, 21p
UC users only

Chin, Daryl.
""The Film That We Wanted To Live": Re-releasing Modernist Movies" PAJ: A Journal of Performance and Art, PAJ 69 (Volume 23, Number 3), September 2001, pp. 1-12 (Article)
UC users only

Fruchter, Norm
"Band à part" Film Quarterly, Vol. 18, No. 2 (Winter, 1964), pp. 54-55
UC users only

Kael, Pauline.
"Band of outsiders." In: American movie critics : an anthology from the silents until now / edited by Phillip Lopate. New York : Library of America : Distributed to the trade by Penguin Putnam, c2006.
Main (Gardner) Stacks PN1995 .A448 2006
Moffitt PN1995 .A448 2006
Pacific Film Archive PN1995 .A72 2006

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

Hayes, Kevin
"The Newspaper and the Novel in À bout de souffle. Studies in French Cinema; 2001, Vol. 1 Issue 3, p183, 9p
UC users only

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".

O'Brien. Geoffrey
"An Idea for Living." Film Comment; May/Jun2010, Vol. 46 Issue 3, p28-33, 6p
UC users only

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.
UC users only

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

Woolfolk, Alan
"Disenchantment and rebellion in Alphaville." In: The philosophy of science fiction film
Edited by Steven M. Sanders. Lexington, Ky. : University Press of Kentucky, c2008.
MAIN: PN1995.9.S26 P49 2008

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), Numéro 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 ça 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".
UC users only

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.

Kauffmann, Stanley.
"La Chinoise." In: Figures of light ; film criticism and comment. New York, Harper & Row [1971]
Main (Gardner) Stacks PN1995 .K296 1971

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

Schickel, Richard.
"La Chinoise." In: Second sight; notes on some movies, 1965-1970. New York, Simon and Schuster [1972]
NRLF (UCB) PN1995 .S415

Simon, John I.
"La Chinoise." In: Movies into film; film criticism, 1967-1970 [by] John Simon. New York, Dial Press, 1971.
Main (Gardner) Stacks PN1995 .S494

Williams, James S.
"'C'est le petit livre rouge / Qui fait que tout enfin bouge': The case for revolutionary agency and terrorism in Jean-Luc Godard's La Chinoise." Journal of European Studies, Sep2010, Vol. 40 Issue 3, p206-218, 13p
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

Campbell, Mark
"And God Created Karina, and the Recreated Bardot." In: French New Wave Pocket Essentials Great Britain: Harpenden, 2001
Full-text available online (UC Berkeley 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

Horton, Andrew
"Godard's "Contempt": Alberto Moravia Transformed" College Literature, Vol. 5, No. 3 (Fall, 1978), pp. 205-212
UC users only

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

Marie, Michel
Le Mépris, Jean-Luc Godard : étude critique / par Michel Marie. [Paris] : Nathan, 1990.
NRLF (UCB) PN1997.M43553 M37 1990

"Le Mépris." Sight and Sound. v39.n3.Summer 1970 p.Summer 163-164.

"Le Mépris." Sight and Sound Issue: 32:4 (1963:Autumn) p.180
UC users only

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

Rosenbaum, Jonathan
"Critical distance: Godard's Contempt." In: Essential cinema : on the necessity of film canons / Jonathan Rosenbaum.. Baltimore : Johns Hopkins University Press, 2004.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1994 .R5684 2004
Moffitt PN1994 .R5684 2004
Pacific Film Archive PN1994 .R63 2004

Sarris, Andrew
"Contempt." In: Confessions of a cultist: on the cinema, 1955-1969. New York, Simon and Schuster [1970]
Main (Gardner) Stacks PN1995 .S34

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

East Wind (Vent d'Est)

Britton, Andrew
"Living Historically: Two Films by Jean-Luc Godard." Framework Issue: 3 (1976:Spring) p.4
UC users only

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
UC users only

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

Forever Mozart

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]

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).
UC users only
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.

France/tour/détour/deux/enfants

Witt, Michael
"Altered motion and corporal resistance in France/tour/detour/deux/enfants." In: For ever Godard
Edited by Michael Temple, James S. Williams, Michael Witt. London : Black Dog, 2004.
Main Stack PN1998.3.G63 F67 2004

Witt, Michael
"Going Through the Motions: Unconscious Optics and Corporal Resistance in Miéville and Godard's France/tour/détour/deux/enfants." In: Gender and French cinema / edited by Alex Hughes and James S. Williams. Oxford ; New York : Berg, 2001.
Full-text available online (UC Berkeley users only)
Main Stack PN1993.5.F7.G46 2001

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.
"Scandal to the Jews, Folly to the Pagans: A Treatment for Hail Mary."Continuum, 1(2), 1987.

Daney, Serge.
"La Theorrorise (pedagogie godardienne) (translated as The T(h)errorized (Godardian Pedagogy). Cahiers du Cinéma, 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).
UC users only
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.

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

Gianvito, John
"Virgin soiled; or, A woman like the others?" In: Jean-Luc Godard's Hail Mary : women and the sacred in film / edited by Maryel Locke and Charles Warren.p. 90-97 Carbondale : Southern Illinois University Press, c1993.
Main Stack PN1997.J36.J4 1993

Harcourt, Peter.
"Metaphysical cinema: two recent films by Jean-Luc Godard." Cineaction n11 Winter (1987): 2-10.

Hedges, Inez
"Jean-Luc Godard's Hail Mary: cinema's "virgin birth"." In: Jean-Luc Godard's Hail Mary : women and the sacred in film / edited by Maryel Locke and Charles Warren. p. 61-66 Carbondale : Southern Illinois University Press, c1993.
Main Stack PN1997.J36.J4 1993

Larson, Janet Karsten.
"Hail Mary." (movie reviews) Christian Century v106, n38 (Dec 13, 1989):1166 (3 pages).

Jacobson, Harlan
"Hail Mary." (motion picture review) Film Comment v 21 Nov/Dec 1985. p. 61-4

"Jean-Luc Godard: His Crucifixion and Resurrection."
Monthly Film Bulletin 52:612/623 (1985) September:268

Jean-Luc Godard's Hail Mary : women and the sacred in film /
Edited by Maryel Locke and Charles Warren ; with a foreword by Stanley Cavell. Carbondale : Southern Illinois University Press, c1993.
Main Stack PN1997.J36.J4 1993

Locke, Maryel
"A history of the public controversy." In: Jean-Luc Godard's Hail Mary : women and the sacred in film / edited by Maryel Locke and Charles Warren. Carbondale : Southern Illinois University Press, c1993.
Main Stack PN1997.J36.J4 1993p. 1-9

Moore, Kevin Z.
"Reincarnating the Radical: Godard's Je Vous Salue, Marie." Cinema Journal, vol. 34 no. 1. 1994 Fall. pp: 18-30.
UC users only
"Despite the critical hostility endured by Jean-Luc Godard's film Je vous salue Marie (1984), the writer argues that the film is in fact the summary emblem of his aesthetic and social interests. So great was the misunderstanding that the film was seen as conservative and religious, thus departing radically from Godard's usual experimental and iconoclastic filmmaking. However, the film argues that we should neither return to the irrationalism of cult and religious protocols, with their dogmatic inflections, nor should we abandon our cognitive-rational interests in search of the quasi-religious interests of a Nietzschean epiphany of being. Instead we should maintain the flexibility that reason and enlightened empiricism promote. In this film, Godard renews his commitment to the insights and techniques of the New Wave that originated at a time when filmmaking and film criticism aspired to meet the challenges of self-reflection in the service of social change." [ArtAbstracts]

Neupert, R.
"Je Vous Salue Marie: Godard the Father." Film Criticism X/1, Fall 85; p.52-56.
Critical analysis of the sexual politics of the film.

Petric, Vladimir; Bard, Geraldine
"Godard's vision of the new Eve." In: Jean-Luc Godard's Hail Mary : women and the sacred in film / edited by Maryel Locke and Charles Warren.p. 98-114 Carbondale : Southern Illinois University Press, c1993.
Main Stack PN1997.J36.J4 1993

Reynaud, Berenice
"Hail Mary." (motion picture review) Afterimage v 13 Jan 1986. p. 10-11

Stein, Elliott
"Hail Mary." (motion picture review) Film Comment v 21 Nov/Dec 1985. p. 70-1

Warren,-Charles
"Whim, God, and the screen." In: Jean-Luc Godard's Hail Mary : women and the sacred in film / edited by Maryel Locke and Charles Warren. p. 10-26 Carbondale : Southern Illinois University Press, c1993.
Main Stack PN1997.J36.J4 1993

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.

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.
UC users only
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.

Histoire(s) du cinéma

Andrews, Jean
"Introduction à une véritable histoire du cinéma." Camera Obscura 3-4(2-3-1 8-9-10): 74-87 (1982)
UC users only

Baecque, Antoine de.
"Le cinéma par la bande." Cahiers du cinéma no513 May 1997. p. 36-8

Callahan, Vicki
"The Evidence and uncertainty of silent film in Histoire(s) du cinéma." In: 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.
Main Stack PN1998.3.G63 C56 2000

Combs, Richard; Durgnat, Raymond
"J. L. Godard and his Histoire(s) du cinéma." Film Comment v. 41 no. 1 (January/February 2005) p. 34-6, 39, 42-3

"The Godard dossier." Screen v. 40 no. 3 (Aut 1999) p. 304-47
UC users only
"A special section on Jean-Luc Godard's audiovisual history of cinema, Histoire(s) du cinéma. 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
Introduction à une Vèritable Histoire du Cinéma / 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

Hampton, Howard.
"Sound affect." Artforum International v 39 no2 Oct 2000. p. 38

Heywood, Miriam.
"Holocaust and image: Debates surrounding Jean-Luc Godard's Histoire(s) du cinéma (1988-98)." Studies in French Cinema, 2009, Vol. 9 Issue 3, p273-283, 11p
UC users only

Heywood, Miriam.
"True Images: Metaphor, Metonymy and Montage in Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire(s) du cinéma." Paragraph, Mar2010, Vol. 33 Issue 1, p37-51, 15p
UC users only

Horwath, Alexander
"The Man With The Magnétoscope - Jean-Luc Godard's monumental Histoire(s) du cinéma as SoundImageTextBook." Senses of Cinema
UC users only

Jean-Luc Godard : el pensamiento del cine : cuatro miradas sobre Histoire(s) du cinéma
David Oubiña (comp.) ; Beatriz Sarlo ... [et al.]. Buenos Aires : Paidós, 2003.
Main (Gardner) Stacks PN1998.3.G63 J39 2003

Martin, Adrian
"Godard's Histoire(s) du cinéma, Parts 1A & 1B: Tales From the Crypt." Senses of Cinema
UC users only

Rancière, Jacques
"The Saint and the Heiress: A propos of Godard's Histoire(s) du cinéma." Discourse, 24.1, Winter 2002, pp. 113-119 (Article)
UC users only

Rancière, Jacques
"La sainte et l'heritiere: a propos des Histore(s) du cinéma." Cahiers du Cinéma no537 July/Aug 1999. p. 58-9
The writer discusses Jean Luc Godard's Histoire(s) du cinéma. Somewhere between an "excessive" conceptual collage and an impossible visual collage, Godard's film comprises three principal theses: a thesis on what the 20th century did to cinema, a thesis on what cinema did to the 20th century, and a thesis on what the image does in general.

Ricciardi, A.
"Cinema regained: Godard between Proust and Benjamin." Modernism - Modernity v. 8 no. 4 (November 2001) p. 643-61
UC users only
"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]

Ricciardi, Alessia,
"Godard's histoire(s)." In: The ends of mourning : psychoanalysis, literature, film / Alessia Ricciardi. Stanford, Calif. : Stanford University Press, 2003.
Main (Gardner) Stacks PN56.D4 R53 2003
Pacific Film Archive PN1995.9.D37 R52 2003

Ricciardi, Alessia,
"Cinema Regained: Godard Between Proust and Benjamin." Modernism/Modernity - Volume 8, Issue 4 2001
UC users only
"Issues concerning how Jean-Luc Godard's film "Histoire(s) du cinema" interprets Marcel Proust's "A la recherche du temps perdu" are examined. Topics include the nature in which cinema alters memory, critic Walter Benjamin's interpretations of Proust's cinematic character, and Godard's and Benjamin's philosophy of history." [Expanded Academic Index]

Rosenbaum, Jonathan
"His twentieth century: Godard's Histoire(s) du cinéma." In: Movies as politics / Jonathan Rosenbaum. Berkeley : University of California Press, c19 p. 318-2297.
Main Stack PN1995.9.P6.R67 1997
Moffitt PN1995.9.P6.R67 1997
Electronic version (UCB users only): http://ark.cdlib.org/ark:/13030/ft6r29p15c/

Rosenbaum, Jonathan.
""Histoire(s) du cinéma."" Vertigo (Great Britain) 1 n7 (1997): 12-20.

Rosenbaum, Jonathan.
"Le Vrai Coupable: Two Kinds of Criticism in Godard's Work." Screen, 1999 Autumn, 40:3, 316-22.
UC users only
"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 cinéma 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." [ArtAbstracts]

Scemama-Heard, Celine.
Histoire(s) du cinéma de Jean-Luc Godard : la force faible d'un art Paris : Harmattan, c2006.
MAIN: PN1998.3.G63 S29 2006

Silverman, Kaja.
"The dream of the nineteenth century." [Histoire(s) du cinéma] Camera Obscura Dec 2002 p1(31)
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]

Stoneman, Rod.
"Bon Voyage." (Jean-Luc Godard's passion for cinema and history) Sight and Sound v3, n7 (July, 1993):29.
Jean-Luc Godard's television programmes 'Histoire(s) du cinéma,' which incorporates images of European history in the history of cinema, is screened on Britain's Channel 4. Different aspects of the cinema are revealed in each episode. The program has also raised controversy regarding the copyrights of the film clips used.

Sutton, Paul
"More Histoire(s) du Cinéma?, on Speaking about Godard by Kaja Silverman and Harun Farocki." Film-Philosophy Vol. 4 No. 7, March 2000

Talens, Jenaro and Santos Zunzunegui.
"Toward a "true" history of cinema: film history as narration." Boundary 2 24 n1 (1997): 1-34.

Temple, Michael.
"Big rhythm and the power of metamorphosis : some models and precursors for Histoire(s) du cinéma." In: 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.
Main Stack PN1998.3.G63 C56 2000

Temple, Michael.
"It Will Be Worth It." (director Jean-Luc Godard's 'Histoire(s) du cinema')(includes related article on Godard) Sight and Sound v8, n1 (Jan, 1998):20 (4 pages).
UC users only
Film director Jean-Luc Godard finally presented his work 'Histoire(s) du Cinéma in 1997. The root of this opus, which consists of eight tapes or chapters, can be traced to the series of improvised speeches and film-shows that Godard presented 20 years earlier. The film that resulted from this protracted gestation is a complex and intense work that leaves one baffled and confused. Eschewing the orderliness found in traditional film history, it is not characterized by a clear linear narrative. Moreover, it does not resolve the conflicting forces that it describes and leaves questions regarding cinema and its histories open.

Temple, Michael
"The nutty professor: teaching film with Jean-Luc Godard." Screen (London, England) v. 40 no. 3 (Aut 1999) p. 323-30
"Part of a special section on Jean-Luc Godard's audiovisual history of cinema, Histoire(s) du cinéma. The writer discusses the role that Godard, as a film historian, might usefully occupy in teaching film. Godard has always held very serious pedagogical ambitions, of which Histoire(s) du cinema is the latest and most complete expression. The comic figure of the Nutty Professor can be used to highlight the symbolic split of Godard's figure between the supremely seductive and the cringingly awful, the sorcerer's apprentice and the absolute master. It is the double curiosity of the Godardian Nutty Professor--the reflective and exploratory spirit of enquiry--that suggests most powerfully that he can act as an effective pedagogical and philosophical model for teachers and researchers alike. Such vices as excess, perversity, and contrariness, which could find their way into an intelligent account of Godard's works and words over the last 40 years of film culture, are in fact the necessary complements to curiosity and reflection in a culture of change and exchange." [Art Index]

Warner, Rick
"Difficult work in a popular medium: Godard on 'Hitchcock's method'." Critical Quarterly, Oct2009, Vol. 51 Issue 3, p63-84, 22p
UC users only
This essay examines the "Introduction to the method of Alfred Hitchcock" segment in episode 4A of Jean-Luc Godard's Histoire(s) du cinéma to argue that what appears to be a straightforward salute to Hitchcock's poetic power and control of the universe is, in fact, a complex attempt on Godard's part to distinguish his own videographic montage. Godard is shown to build towards a moment of distinction that turns on the device of superimposition, which Godard retools in Histoire(s) as an instrument of detection, the discoveries of which are potentially miraculous. The stakes of Godard's reworking are shown to be public rather than private, and ethical as much as formal. [Author's abstract]

Welsh, J.
"Periodically yours: the movie generation." Literature/Film Quarterly 13 n4 (1985): 277.

Williams, James S.
"Histoire(s) Du Cinéma." Film Quarterly, Vol. 61, No. 3 (Spring 2008), pp. 10-16
UC users only

Williams, James S.
"The Signs Amongst Us: Jean-Luc Godard's Histoire(s) du cinéma." Screen, 1999 Autumn, 40:3, 306-15.
"Part of a special section on Jean-Luc Godard's audiovisual history of cinema, Histoire(s) du cinéma. The four-volume art-book version of Histoire(s) du cinema is discussed. Godard's central argument in the work is that cinema reneged on its responsibility to represent reality, rapidly becoming obsessed with the need for spectacle. His main aim is to prioritize and celebrate the resurrecting potential of cinema, the process whereby film sacrifices the real by putting it to death and then mourning it, thereby returning the real to us and letting us regain access to it. The key to this idea is montage, the act of creating relations between people, objects, and ideas; as the origin and finality of cinematic art, montage is the way for life to give back to cinema the power of innocence that life progressively stole from it during the course of the 20th century. As montage for Godard constitutes the ethical and moral code of video, he thus reveals the radical potential of video as a privileged site of experimentation, creativity, and philosophical reflection." [Art Index]

Witt, Michael.
"The Death(s) of Cinema According to Godard." Screen, 1999 Autumn, 40:3, 331-46.
"Part of a special section on Jean-Luc Godard's audiovisual history of cinema, Histoire(s) du cinéma. The writer discusses Godard's pronouncement of the "death" of cinema. He identifies four separate deaths in Godard's schema: The suppression of the blaze of exploratory vitality of silent cinema by the "talkies"; the death of cinema in the face of the terrors of the Holocaust, and the failure of cinema to work through the Nazi genocide of the Jews; the calls made by the filmmakers and technicians radicalized by the events of May 1968 for the jettisoning of cinema as a reactionary cultural form and purveyor of sanitized bourgeois myths and cliches; and the creeping insidious degradation of visual culture resulting from what Godard sees as a televisual mutation. Elaborating on Godard's polemic on the obliteration of cinema through the creeping television effect, the writer argues that it is accompanied by the romanticization of the period of his early work in the 1960s." [ArtAbstracts]

Witt, Michael.
"Jean-Luc Godard: Histoire(s) du cinéma(1988-1998)." Screen v 40 no3 Autumn 1999. p. 304-5

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 "méthode 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 Cinéma." [America History and Life)

Witt, Michael
"'Qu'Était-ce que le cinéma, Jean-Luc Godard?' An analysis of the cinemas(s) at work in and around Godard's Histoire(s) du cinéma." In France in focus : film and national identity / edited by Elizabeth Ezra and Sue Harris. Oxford ; New York : Berg, 2000.
Main Stack PN1993.5.F8.F73 2000

Ici et ailleurs (Here and Elsewhere)

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.

Drabinski, John
"Separation, Difference, and Time in Godard's "Ici et ailleurs"" SubStance, Vol. 37, No. 1, Issue 115: Cultural Theory after 9/11: Terror, Religion, Media (2008), pp. 148-158
UC users only

Emmelhainz, Irmgard
"From Third Worldism to Empire: Jean-Luc Godard and the Palestine Question." Third Text; Sep2009, Vol. 23 Issue 5, p649-656, 8p
UC users only

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

In Praise of Love (Éloge de l'amour)

Dixon, Wheeler Winston
"In praise of Godard's in praise of love." (Critical Essay) Film Criticism, Spring 2003 v27 i3 p18(23)
UC users only

Ranciere, Jacques; Tesson, Charles
"Jean-Luc Godard: une longe histoire." Cahiers du Cinema no. 557 (May 2001) p. 28-36
"An interview with French filmmaker Jean-Luc Godard, on the occasion of the showing of his latest film latest film Eloge de l'amour, at the 2001 Cannes Film Festival. Subjects addressed include the long process involved in making the film, the importance of history in the film, the theme of adulthood in cinema, the influence of such writers as Peguy and Bernarnos in his work, and American cinema."

Sofair, Michael
"In Praise of Love (Eloge de l'amour)." Film Quarterly v. 58 no. 2 (Winter 2004/2005) p. 36-44
"Although Jean-Luc Godard's In Praise of Love may appear to confirm the majority verdicts of terminal reflexivity and deconstructive self-absorption, it is strangely insinuating. Neither can Godard's method be dismissed as mere contrariness because it serves to indicate a consistency and objective in the film's continuous accumulation of concepts and emotion. In Praise of Love may thus herald a renewed attempt to communicate with viewers in an interactive way rather than to seek the audience's passive acceptance of some contrived effect. As well as this significance in terms of Godard's oeuvre, one of the film's key themes--the relation between Europe and America--is of significant political relevance." [Art Index]

Tesson, Charles
"Eloge de l'amour." Cahiers du Cinema no. 557 (May 2001) p. 38-9
"A review of Eloge de l'amour, a film by Jean-Luc Godard. The film has a cinematic origin in its adherence to Parisian New Wave cinema, and a historical origin in that the period of German occupation during World War II is a central theme in the work. The most striking thing about the film is its ability to clarify a complex history without resorting to standard processes of narration." [Art Index]

JLG/JLG

Alter, Nora M.
"Mourning, Sound, and Vision: Jean-Luc Godard's JLG/JLG." Camera Obscura v15, n44 (Sept, 2000):75.
UC users only

Hayes, Kevin J.
"'JLG/JLG - autoportrait de Decembre': reinscribing the book." (Jean Luc Godard)(Critical Essay) Quarterly Review of Film and Video April 2002 v19 i2 p155(10)
"Jean Luc Godard's 1994 'JLG/JLG - autoportrait de Decembre' blends print and manuscript in demonstrating how inextricably public and private selves are intertwined. Godard uses closeups of his notebooks, classic literature that influenced him, and other texts to portray his work in the context of cinema history." [Expanded Academic Index]

Jousse, Thierry
"JLG/JLG." (motion picture review)Cahiers du Cinema no489 Mar 1995. p. 36
"A review of the motion picture JLG/JLG, directed by Jean-Luc Godard. This film is more of a self-portrait than an autobiography and represents a moving reconstruction of Godard's own personal universe. The film is simple though not simple-minded: It brings together the many different sides of Godard revealed in his previous works and presents them not merely as a synthesis, but as a new entity." [ArtAbstracts]

Kelleher, Ed.
"Jean-Luc Godard, investigator, presents ongoing self-portrait." The Film Journal 97 Jul (1994): 12+ [2p].

Rafferty, Terrence.
"JLG by JLG: A Self-Portrait in December." (movie reviews) New Yorker v70, n48 (Feb 6, 1995):92 (4 pages).

Silverman, Kaja.
"The author as receiver." October no. 96 (Spring 2001) p. 17-34
UC users only
"The writer discusses Jean-Luc Godard's 1994 filmic investigation of himself as author, JLG/JLG. Godard describes this film as a "self-portrait" rather than an "autobiography." Analysis of the film reveals that Godard's focus is on the death of himself as an author. For Godard, an artist can only be truly said to be an artist in so much as he succeeds in negating himself as a biographical personage, and an artist is not a creator but the site where visual forms and words install or inscribe themselves. Godard suggests in the film that he does not succeed in becoming a pure receptacle, receiver, and reflector of stimuli. The writer contends that the death of the author may be better understood as an ongoing process, in which case, Godard does succeed in sustaining himself "in the mode of dying." [Art Abstracts]

Sollers, Philippe
"JLG/JLG, un cinema de l'etre-la." Cahiers du Cinema no489 Mar 1995. p. 37-9
"The writer discusses director Jean-Luc Godard and his film JLG/JLG. He expresses his admiration for Godard, discussing several scenes from the film and describing his own reaction to them. He sees JLG/JLG as a dramatic film that poses the essential questions of the end of the 20th century. He concludes that this film, with its autobiographical and philosophical overtones, is Godard's best yet." [ArtAbstracts]

Vatrican, Vincent
"J'ai toujours pense que le cinema etait un instrument de pensee." Cahiers du Cinema no490 Apr 1995. p. 70-5
"In an interview on the occasion of the release of his latest film JLG/JLG, Autoportrait de decembre, director Jean-Luc Godard discusses his work. Images from the film and letters by Godard are reproduced." [ArtAbstracts]

King Lear

See Shakespeare on Film Bibliography

Masculin Féminine

Casty, Alan
"Masculine Féminine" Film Quarterly, Vol. 20, No. 4 (Summer, 1967), pp. 57-60
UC users only

Godard, Jean Luc
Masculin Féminine: A Film Consulting editor: Pierre Billard. New York, Grove Press [1969]. Series title: Film book series. Series title: An Evergreen black cat book, B-188.
UCB Main PN1997.M32 G63

Haycock, Joel.
"The Sign of the Sociologist: Show and Anti-show in Godard's Masculin Féminin." Cinema Journal v. 29 (Summer '90) p. 51-74.
UC users only

Phillip John Usher
"De sexe incertain: Masculin Féminine de Godard" French Forum, Volume 34, Number 2, Spring 2009, pp. 97-112
UC users only

Willis, Don.
"Modernism: the terror from beyond space." Film Comment 16 Jan/Feb (1980): 9-15.

Worth, Fabienne Andre.
"Rameau's Nephew, Godard, and Mona Lisa: Uncovering the Veil of Gender in the Undergraduate Classroom." ADFL Bulletin, vol. 19 no. 2. 1988 Jan. pp: 20-23.

My Life to Live (Vivre sa vie)

Ben, S. H.
"Vivre sa vie." 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)

Brown, Royal S.
"Music and Vivre sa Vie." Quarterly Review of Film Studies V/3, Summer 80; p.319-333.
Analysis of how Godard uses Michel Legrand's brief score in non traditional ways.

Cannon, Steve.
"'Not a Mere Question of Form': The Hybrid Realism of Godard's 'Vivre sa Vie.'" (analysis of 1962 film by Jean-Luc Godard)(100 Years of French Cinema) French Cultural Studies v7, n3 (Oct, 1996):283 (12 pages).
UC users only "Jean-Luc Godard's 1962 film, 'Vivre sa vie,' reflects his ability to capture the reality of contemporary society and situations, despite his emphasis on the formalistic and aesthetic side of filmmaking. Godard's film confronts reality matter-of-factly, by depicting what is there before the lens, using only one microphone, real locations, natural light and no written script. His realism reflects a variety of influences, including those of Naturalism, cinema-verite, and the theatrical works of Bertolt Brecht. Godard's later, more overtly political films do not communicate as deeply as this one does." [Expanded Academic Index]

Crowther, Bosley
"Episodes in an Offbeat Style; 'My Life to Live' Opens at Paris Theater Godard Uses 12 Parts to Recount Story." New York Times Sep 24, 1963. p. 42 (1 page)
UC users only

Danks, Adrian
"Jean-Luc Godard and Vivre sa Vie." Senses of Cinema

Mathews, Peter.
"The Mandatory Proxy" Biography, Volume 29, Number 1, Winter 2006, pp. 43-53
UC users only
This article explores how Jean-Luc Godard's film Vivre sa Vie (1962) sets about deconstructing—rather than reproducing—the autobiographical act within cinema. Central to Godard's exercise is the decision to cast Anna Karina, his wife at the time, as the lead actress. Godard repeatedly demonstrates that the cinematic image functions as an opaque screen, a "mandatory proxy," between actor and viewer that renders a truly authentic autobiography impossible.

Sarris, Andrew
"My Life to Live." In: Confessions of a cultist: on the cinema, 1955-1969. New York, Simon and Schuster [1970]
Main (Gardner) Stacks PN1995 .S34

Sontag, Susan
"Godard's Vivre sa vie." In: Against interpretation, and other essays / Susan Sontag. New York, N.Y. : Picador U.S.A. 2001.
Main (Gardner) Stacks PN771 .S62 2001

Notre Musique

Emmelhainz, Irmgard
"From Third Worldism to Empire: Jean-Luc Godard and the Palestine Question." Third Text; Sep2009, Vol. 23 Issue 5, p649-656, 8p
UC users only

Rascaroli, Laura.
"Performance in and of the Essay film: Jean-Luc Godard plays Jean-Luc Godard in Notre musique (2004)." Studies in French Cinema, 2009, Vol. 9 Issue 1, p49-61, 13p
UC users only

Numéro Deux

Canby, Vincent
"Film: 'Numéro Deux,' A Godard Experiment." New York Times Jun 19, 1981. p. C12 (1 page)
UC users only

Farocki, Harun and Silverman, Kaja
"In her place." Camera Obscura no37 Jan 1996. p. 92-122
"In an excerpt taken from a book-in-progress about eight films by Jean-Luc Godard, the writers discuss Godard's film Numéro 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." [ArtAbstracts]

Forcer, Stephen.
"Word games and space invaders: play, form and philosophy in Jean-Luc Godard and Anne-Marie Miéville's Numéro deux (1975)" Studies in French Cinema, 2005, Vol. 5 Issue 2, p87-97, 11p; DOI: 10.1386/sfci.5.2.87/1; (AN 17990188)
UC users only

"Godard: Numéro deux" (3 article special section)
Cahiers du Cinema no472 Oct 1993. p. 74-89

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

Rosenbaum, Jonathan.
"Numéro Deux" Sight and Sound Issue: 45:2 (1976:Spring) p.124
UC users only

Schwartz, Stan
"Numéro Deux." Film Quarterly v 30 no2 Winter 1976/1977. p. 61-3
UC users only

Passion

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.
UC users only

Baumbach, Jonathan
"Passion?" North American Review Issue: 263:1 (1978:Spring) p.58
UC users only

Farocki, Harun and Silverman, Kaja
"To Love to Work and to Work to Love-A Conversation about Passion." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 15 no. 3. 1993 Spring. pp: 57-75.

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

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

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.
UC users only

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

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 moveme

Le Petit Soldat

Godard, Jean Luc
Le Petit Soldat: A Film / by Jean-Luc Godard; English translation and description of action by Nicholas Garnham. 2nd ed. London: Lorrimer Publishing, 1970, c1967. Series title: Modern film scripts.
UCB Main PN1997 .G56713 1970

McDonough, Tom
"1961: Algeria and the politics of décollage." In: "The beautiful language of my century" : reinventing the language of contestation in postwar France, 1945-1968 Cambridge, Mass. : MIT Press, c2007.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks DC415 .M34 2007

Neupert, Richard John.
"Jean-Luc Godard: Le petit soldat." In: A history of the French new wave cinema / Richard Neupert. Madison, Wis. : University of Wisconsin Press, c2002. Wisconsin studies in film.
Full text available online (UC Berkeley users only)
Main Stack PN1993.5.F7.N48 2002

Palmer, Tim.
"Le Petit Soldat." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 19:(no pagination). 2002 Mar-Apr

Thompson, Howard .
"Screen: 'Le Petit Soldat'." New York Times Apr 21, 1967. p. 48 (1 page)
UC users only

Pierrot le Fou

Godard, Jean Luc
Pierrot le Fou: A Film / by Jean-Luc Godard. Rev. ed. London: Lorrimer, 1984. Series title: Classic film scripts.
UCB Main PN1997 .P56813 1984

Jean-Luc Godard's Pierrot le fou
Edited by David Wills. Cambridge; New York: Cambridge University Press, 2000. Series title: Cambridge film handbooks series.
UCB Main PN1997.P482 J43 2000

Lehman, Peter
"French Cinema: An Analysis: Jean-Luc Godard's Pierrot Le Fou." Velvet Light Trap, 9 (Summer 1973) p. 23
UC users only

Miller, D.A.
"Bonnie and Pierrot." Film Quarterly Vol. 61, No. 4 (Summer 2008) (pp. 74-79)
UC users only

Morgan, Daniel
"'No Trickery with Montage': On Reading a Sequence in Godard's Pierrot le fou." Film Studies 5 (Winter 2004) Go to Journal Issue p. 8-VI
UC users only

Sarris, Andrew
"Pierrot le Fou." In: Confessions of a cultist: on the cinema, 1955-1969. New York, Simon and Schuster [1970]
Main (Gardner) Stacks PN1995 .S34

Thompson, Howard; Renata Adler
"Screen: A Gentle and Humble Godard." New York Times Jan 9, 1969. p. 21 (1 page)
UC users only

Vacche, Angela Dalle.
"Jean-Luc Godard's Pierrot le Fou: Cinema as Collage against Painting."
UC users only Literature/ Film Quarterly, vol. 23 no. 1. 1995. pp: 39-54. Considers the significance of visual symbolism and references to works of art in "Pierrot le Fou".

Film Socialisme

Godard, Jean Luc
Film socialisme : dialogues avec visages auteurs / Jean-Luc Godard. Paris : P.O.L, c2010.
Main (Gardner) Stacks PQ2667.O315 F55 2010

Lippe, Richard.
"Film Socialisme." Cineaction, 2010, Issue 82/83, p37-40, 4p

O'Rawe, Des.
"The Fraternity of Metaphors: Jean-Luc Godard's Film Socialisme." Kinema, Fall2010, Issue 34, p5-18, 14p

Picard, Andréa.
"Film Socialisme." Cinema Scope, Summer2010, Issue 43, p58-61, 4p
UC users only

Rundle, Guy
"On the Beach: The View from Cannes 2010." Metro, Jun2010, Issue 165, p78-80, 3p
UC users only
The article discusses the 63rd Cannes Film Festival. The festival was led off with Jean-Luc Godard's film "Socialisme," a three-part cinema essay on history, Greece and the financial crisis. The author discusses Godard's method of repeatedly frustrating the audiences' desire for easy resolution leaving the festival with uncertain air of disappointment and lack of revelation. Moreover, the article looks into the other films featured on the festival like Sue Taylor's "The Tree."

Stevens, Brad.
"Film Socialisme" Sight & Sound, Aug2011, Vol. 21 Issue 8, p66-67, 2p
UC users only

White, Rob.
"Bad Blood." Film Quarterly, Fall 2011, Vol. 65 Issue 1, p4-5, 2p
UC users only
The article reviews the films “Film Socialisme,” directed by Jean-Luc Godard, and “The Tree of Life,” directed by Terrence Malick and starring Sean Penn.

First Name: Carmen (Prénom Carmen)

Bachmann, Gideon.
"The Carrots Are Cooked: A Conversation with Jean-Luc Godard." Film Quarterly 37:3 (1984:Spring) 13
Godard discusses the aesthetics of film, recurrent themes, and his feelings on the importance of the cinema, in relation to his new film "Pronom Carmen."

Bogue, R.
"Tragedy, sight, and sound: the birth of Godard's Prénom Carmen from the Nietzschean spirit of music." In: Nietzsche and the rebirth of the tragic / edited by Mary Ann Frese Witt. Madison [N.J.] : Fairleigh Dickinson University Press, c2007.
Main (Gardner) Stacks B3313.G43 N54 2007

Canby, Vincent
"First Name: Carmen." (movie reviews) The New York Times August 3, 1984 v133 p14(N) pC6(L) col 5 (23 col in)

Choe, Y.
"The Cinema of the Interstice: Jean-Luc Godard's "Prénom Carmen" and the Power of Montage." Quarterly Review of Film and Video v. 23 no. 2 (2006) p. 111-27
UC users only
"The writer analyzes how Jean-Luc Godard's film Prénom Carmen (1983) expresses Godard's idea of montage through a disjunctive relationship between image and sound. Prénom Carmen is an effort to rethink the traditional Carmen myth through the heroine's trembling of multiple voices and ambivalent feelings. It is also a radical attempt to deconstruct cinematic conventions through a new conception of sound and image. Regarding its deconstructive aspect, Godard's technique of "AND" recalls a Deleuzian sense of serialization, which can be summarized as "mal vu, mal dit," a quotation from Beckett that Godard (Uncle Jean) types in his asylum room. For Godard, every image and sound becomes "ill seen and ill said" when brought to an interstice that constantly suggests the concept of "Prénom," through an undecidable relationship between sound and image, between Godard and Uncle Jean, between documentary and fiction, and between nature and art." [Art Index]

Conley, Verena Andermatt.
"A Fraying of Voices: Jean-Luc Godard's Prénom Carmen." L' Esprit Createur, vol. 30 no. 2. 1990 Summer. pp: 68-80.

"First Name: Carmen." Reviews."
Films and Filming no 353 Feb 1984. p. 36

Gerstein, E.
"Carmen." (Review). Films in Review XXXV/9, Nov 84; p.569.

Herzog, Amy
"The Dissonant Refrains of Jean-Luc Godard's Prénom Carmen." In: Carmen : from silent film to MTV / edited by Chris Perriam and Ann Davies. Amsterdam ; New York : Rodopi, 2005.
Main Stack PN57.C33.C37 2005

Kael, Pauline
"First name: Carmen." (movie reviews) The New Yorker Sept 17, 1984 v60 p130(4)

Kael, Pauline
" Roger and Edwina, Sheena and Uncle Jean." In: State of the art / by Pauline Kael. p. 220-30. 1st ed. New York : Dutton, c1985.
UCB Main PN1995 .K2527 1985
UCB Moffitt PN1995 .K2527 1985

Kauffmann, Stanley
"First name: Carmen." (movie reviews) . The New Republic Sept 10, 1984 v191 p24(2)
UC users only

Kovacs, Katherine S.
"Parody as "Countersong" in Saura and Godard." (Carlos Saura, Jean-Luc Godard, film versions of 'Carmen') (Film Parody) Quarterly Review of Film and Video v12, n1-2 (May, 1990):105 (20 pages).
Two movie versions of the opera 'Carmen' by Carlos Saura and Jean-Luc Godard constitute parodies. Both movies focus on modern rehearsals for 'Carmen' rather than actual performances, and both have performers critiquing themselves. Godard's 'Prénom Carmen' is a detective film-noir presentation, while Saura's 'Carmen' uses flamenco dancing. These movies fit the parodic properties of self-critical dialogue and repetition.

Milne, Tom
"A Bout de Souffle [Prénom Carmen]". (Review). Sight & Sound LIII/1, Winter 83-84; p.60-61.

Powrie, Phil.
"Godard's Prénom: Carmen (1984), Masochism, and the Male Gaze." Forum for Modern Language Studies 1995 Jan, 31:1, 64-73.

Seitz, Michael H.
"First name: Carmen." (movie reviews) . The Progressive Oct 1984 v48 p36(2)

Thibault, Bruno
"La Transposition dans "Prénom Carmen" de Jean-Luc Godard et dans "La Belle Noiseuse" de Jacques Rivette." The French Review, Vol. 79, No. 2 (Dec., 2005), pp. 332-342
UC users only

Wills, D.
"Carmen: Sound/effect." Cinema Journal XXV/4, Summer 86; p.33-43.
Studies the representation of Carmen in four recent films.

Sauve qui Peut

Albrecht, T.
"Sauve Qui Peut (l'image): Reading for a Double Life." Cinema Journal XXX/2, Winter 91; p.61-73
UC users only
A Barthesian reading of "Sauve qui peut (la vie)", revealing the 'third meaning' as expressed in the stop-action images of the film.

Baumbach, Jonathan.
"Going to the movies: Godard, Godard, Godard & DePalma." Partisan Review 48 n4 (1981): 603-7.

Bellour, Raymond
" I Am an Image."Camera Obscura /8-10, Fall 82; p.116-123.
On "Sauve qui peut (la vie)" which crosses the battle between images with the battle of the sexes.

Bergstrom, Janet.
"Violence and enunciation." Camera Obscura n8/9/10 Fall (1982): 20-31.

Forbes, Jill
"Jean-Luc Godard: 2 into 3." (Article). Sight & Sound L/1, Winter 80/81; p.40-45. illus.
Analyses 'Sauve qui Peut (la vie)' and discusses some of Godard's TV work.

Geloin, Ghislaine.
"Sex Without (Love) in the 80's: Godard's New Vision in Every Man for Himself - Sauve qui peut/La Vie." In: Sex and Love in Motion Pictures: proceedings of the Second Annual Film Conference of Kent State University, April 11, 1984. pp: 41-46. [Kent, Ohio]: Romance Languages Dept., Kent State University, c1984.
Main Stack PN1995.9.S45.F551 1984

Harcourt, Peter
" Le Nouveau Godard: An Exploration of Sauve Qui Peut (la Vie)."Film Quarterly XXXV/2, Winter 81-82; p.17-27.
UC users only
An exploration of J.-L.G.'s "Sauve qui peut (la vie)", a 'tryptych in five parts'.

Insdorf, Annette
"A New Direction for the New Wave's Jean-Luc Godard." New York Times Oct 12, 1980. p. D1 (3 pages)
UC users only

Lyon, Elizabeth
"[Introduction]. (Special Section)." Camera Obscura /8-10, Fall 82; p.6-31.
Three related articles on "Sauve qui peut (la vie)" introduce a special issue on Godard and his importance to the study of women and the cinema.

Macbean, James Roy.
""Sauve qui peut/la vie" ("Every Man for Himself"): an open letter to Godard." Jump Cut: a Review of Contemporary Media n31 Mar (1986): 8-12.

Morris, Richard.
"'To Realise the Ideal': Miscellaneous Remarks on Godard's Conceptual Processes Apropos of Sauve qui peut (la vie)." Film Studies, Winter2004, Vol. 5 Issue 0, p1-7, 7p
UC users only

Stam, Robert
"Jean-Luc Godard's Sauve Qui Peut (la Vie)," Millennium Film Journal issue Nos. 10/11 (Fall/Winter 1981-82)pp. 194-99.

Thompson, Kristin
"Godard's unknown country: Sauve qui peut (la vie)." In: Breaking the glass armor: neoformalist film analysis / Kristin Thompson. p. 263-88. Princeton, N.J.: Princeton University Press, c1988.
UCB Main PN1995 .T46 1988
UCB Moffitt PN1995 .T46 1988.

Woodward, Katherine S.
"European anti-melodrama: Godard, Truffaut." Post Script: Essays in Film and the Humanities 3 n2 (1984): 34-47.

Tout va bien

Atack, Margaret.
"Jean-Luc Godard Tout va bien." In: May 68 in French fiction and film : rethinking society, rethinking representation / Margaret Atack. Oxford ; New York : Oxford University Press, 1999. Oxford studies in modern European culture.
Grad Svcs DC33.7.A83 1999 Non-circulating; may be used only in Graduate Services.
Main Stack DC33.7.A83 1999

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".

Britton, Andrew
"Living Historically: Two Films by Jean-Luc Godard." Framework Issue: 3 (1976:Spring) p.4
UC users only

Kauffmann, Stanley.
"Tout va bien." In: Living images; film comment and criticism. New York, Harper & Row [1975]
Pacific Film Archive PN1994 .K32 1975

Kavanagh, Thomas M.
"Godard-Gorin's Narrative Form 'Tout va bien' Reconsidered." Diacritics, vol. 4 no. 1. 1974. pp: 42-48.
UC users only

Klein, Gillian
"Tout Va Bien by Jean-Luc Godard" Film Quarterly, Vol. 26, No. 4 (Summer, 1973), pp. 35-41
UC users only

Lesage, Julia
"Tout Va Bien and Coup Pour Coup: Radical French Cinema in Context." Cineaste V/3, Summer 72; p.42-48. illus.
Two recent revolutionary films and their place in the political situation in France.

Roud, Richard
"Godard is Dead, Long Live Godard/Gorin, Tout Va Bien!" Sight & Sound XVI/3, Summer 72; p.122-124.
UC users only
Review of Godard's latest film "Tout va bien", showing how it marks a new stage in the director's development.

Thompson, Kristin
"Sawing through the bough: Tout va bien as a Brechtian film." In: Breaking the glass armor: neoformalist film analysis / Kristin Thompson. p. 110-31. Princeton, N.J.: Princeton University Press, c1988.
UCB Main PN1995 .T46 1988
UCB Moffitt PN1995 .T46 1988.

Two Or Three Things I Know About Her

Adler, Renata
"Film Fete: Godard's Paris; 'Two or Three Things I Know About Her'." New York Times Sep 26, 1968. p. 60 (1 page)
UC users only

Canby, Vincent
"The Screen; 'Two or Three Things' at the New Yorker." New York Times May 1, 1970. p. 47 (1 page)
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

Guzzetti, Alfred
Two or Three Things I Know About Her: Analysis of a Film by Godard / Alfred Guzzetti. Cambridge, Mass.: Harvard University Press, 1981. Series title: Harvard film studies.
UCB Main PN1997.D45573 .G8

Hamilton, R.S.
"Two or Three Things I Know About Her." Camera Obscura /8-10, Fall 82; p.216-223.

Kauffmann, Stanley.
"Two or Three Things I Know About Her." In: Figures of light ; film criticism and comment. New York, Harper & Row [1971]
Main (Gardner) Stacks PN1995 .K296 1971

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

Pieters, John.
"Post-Structuralist 'Reading' and the Post-Modernist Text: Godard's Two or Three Things I Know about Her." Soundings: An Interdisciplinary Journal, vol. 67 no. 1. 1984 Spring. pp: 103-121.

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

Weekend

Adler, Renata
"Film Festival: 'Weekend'; Godard Film Captures Despair and Violence." New York Times Sep 28, 1968. p. 36 (1 page)
UC users only

Currie, Hector
"Godard moving in crystal- Weekend." In: Cinema drama schema: eastern metaphysic in Western art / Hector Currie. p. 202-17. New York: Philosophical Library, c1985.
UCB Moffitt PN1892 .C8 1985

Godard, Jean Luc
Weekend: A Film / by Jean-Luc Godard. London: Lorrimer, 1984. Series title: Classic film scripts.
NRLF B 3 569 420

Godard, Jean Luc
Weekend; and Wind from the East: Two Films [edited by Nicholas Fry, dialogue translated by Marianne Sinclair and Danielle Adkinson]. London, Lorrimer Publishing Ltd., 1972. Series title: Modern film scrips 34.
UCB Main PN1997.W44 G6
UCB Moffitt PN1997.W44 G6

Kael, Pauline
"Weekend in hell." In: Going steady. Boston, Little, Brown [1970]
Main (Gardner) Stacks PN1995 .K23 1970

Kauffmann, Stanley.
"Weekend." In: Figures of light ; film criticism and comment. New York, Harper & Row [1971]
Main (Gardner) Stacks PN1995 .K296 1971

LoBrutto, Vincent
"The essay film: Weekend." In: Becoming film literate : the art and craft of motion pictures / Vincent LoBrutto ; foreword by Jan Harlan. Westport, Conn. : Praeger, c2005.
Main (Gardner) Stacks PN1994 .L595 2005
Moffitt PN1994 .L595 2005
Pacific Film Archive PN1994 .L595 2005

MacBean, James-Roy
"Godard's Week-end, or the self critical cinema of cruelty." Film Quarterly v 21 no2 Winter 1968/1969. p. 35-43
UC users only

Nicholls, D.
"Godard's 'Week-end: totem, Taboo, and the Fifth Republic."Sight & Sound XLIX/1, Winter 79/80; p.22-24.
An attempt to analyse Godard's film in its historical context and in relation to his earlier films and later video work.
UC users only

Porter, Peter S.
"Jean-Luc Godard, "Week End," and Menippean satire." Michigan Academician 33 n1 (2001): 19-20.

Sarris, Andrew
"Weekend." In: Confessions of a cultist: on the cinema, 1955-1969. New York, Simon and Schuster [1970]
Main (Gardner) Stacks PN1995 .S34

Sturdza, Paltin
"Week-End." The French Review, Vol. 50, No. 5 (Apr., 1977), pp. 785-786
UC users only

Woman is Woman (Une Femme est Femme)

Hayes, Kevin J.
"Une femme est une femme: a modern woman's bookshelf." Film Criticism v 25 no1 Fall 2000. p. 65-82.
UC users only
"The use of book titles in Une Femme Est une Femme, a film directed by Jean-Luc Godard, is discussed. In the film, an argument takes place between a couple: Angela, who has decided that she must conceive before the day is out, and her partner Emile, who is not ready to have children. In their domestic quarrel, the two use the cover titles of books as verbal ammunition against each other; for example, Donald Downes's novel Bourreau, Fais ton Metier! the story of a friend mistaken for an enemy, functions as an analogy for the relationship between Angela and Emile during their quarrel. The writer explores this use of book titles in the film in greater detail and considers how it anticipates Godard's later use of book covers in Deux ou Trois Choses que Je Sais d'Elle and Le Gai Savoir, which use words from paperback covers to communicate meaning." [Art Abstracts]

Sarris, Andrew
"Woman is Woman." In: Confessions of a cultist: on the cinema, 1955-1969. New York, Simon and Schuster [1970]
Main (Gardner) Stacks PN1995 .S34

Scott, A.O.
"Godard's Grand Allusions, Full of Impish Esprit." (Movies, Performing Arts/Weekend Desk)(A Woman is a Woman) The New York Times May 16, 2003 pE23 col 01 (15 col in)

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


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