Jean-Luc Godard

Jean-Luc Godard (French: [ lyk da]; born 3 December 1930) is a French-Swiss lm director, screenwriter and lm critic. He is often identied with the
1960s French lm movement La Nouvelle Vague, or
"New Wave".[1]

FrancoSwiss descent, and his mother was the daughter of Julien Monod, a founder of the Banque Paribas.
She was the great-granddaughter of theologian Adolphe
Monod. Relatives on his mothers side include also composer Jacques-Louis Monod, naturalist Thodore Monod
and pastor Frdric Monod.[16][17] Four years after JeanLucs birth, his father moved the family to Switzerland.
At the outbreak of the Second World War, Godard was
in France and returned to Switzerland with diculty. He
spent most of the war in Switzerland, although his family
made clandestine trips to his grandfathers estate on the
French side of Lake Geneva. Godard attended school in
Nyon, Switzerland.[18]

Like his New Wave contemporaries, Godard criticized

mainstream French cinemas Tradition of Quality,[1]
which emphasized craft over innovation, privileged established directors over new directors, and preferred the
great works of the past to experimentation.[2] To challenge this tradition, he and like-minded critics started to
make their own lms.[1] Many of Godards lms challenge the conventions of traditional Hollywood in addition to French cinema.[3] He is often considered the most
radical French lmmaker of the 1960s and 1970s;[4] his
approach in lm conventions, politics and philosophies
made him arguably the most inuential director of the
French New Wave. Along with showing knowledge of
lm history through homages and references, several of
his lms expressed his political views; he was an avid
reader of existential and Marxist philosophy.[4][5]

Not a frequent cinema-goer, he attributed his introduction to cinema to a reading of Malrauxs essay Outline of
a Psychology of Cinema, and his reading of La Revue du
cinma, which was relaunched in 1946.[19] In 1946, he
went to study at the Lyce Buon in Paris and, through
family connections, mixed with members of its cultural
elite. He lodged with the writer Jean Schlumberger. Having failed his baccalaureate exam in 1948 he returned
to Switzerland. He studied in Lausanne and lived with
his parents, whose marriage was breaking up. He spent
time in Geneva also with a group that included another
lm fanatic, Roland Tolmatcho, and the extreme rightist
philosopher Jean Parvulesco. His older sister Rachel encouraged him to paint, which he did, in an abstract style.
After time spent at a boarding school in Thonon to prepare for the retest, which he passed, he returned to Paris
in 1949.[20] He registered for a certicate in anthropology
at the University of Paris (Sorbonne), but did not attend
class.[21] He got involved with the young group of lm
critics at the cin-clubs that started the New Wave. Godard originally held only French citizenship, then in 1953,
he became a citizen of Gland, canton of Vaud, Switzerland, possibly through simplied naturalisation through
his Swiss father.

Since the New Wave, his politics have been much less
radical and his recent lms are about representation
and human conict from a humanist, and a Marxist
perspective.[4]
In a 2002 Sight & Sound poll, Godard ranked third in the
critics top-ten directors of all time (which was put together by assembling the directors of the individual lms
for which the critics voted).[6] He is said to have created one of the largest bodies of critical analysis of any
lmmaker since the mid-twentieth century.[7] He and his
work have been central to narrative theory and have challenged both commercial narrative cinema norms and lm
criticisms vocabulary.[8] In 2010, Godard was awarded
an Academy Honorary Award, but did not attend the
award ceremony.[9] Godards lms have inspired many
directors including Martin Scorsese, Quentin Tarantino,
Steven Soderbergh, D. A. Pennebaker,[10] Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders,[11]
Bernardo Bertolucci,[12] and Pier Paolo Pasolini.[12]

2 Early career (195059)

2.1 Film criticism

Early life

In Paris, in the Latin Quarter just prior to 1950, cin-clubs

(lm societies) were gaining prominence. Godard began
Jean-Luc Godard was born on 3 December 1930[13] in attending these clubsthe Cinmathque, the CCQL,
the 7th arrondissement of Paris,[14] the son of Odile Work and Culture cin Club, and others, became his
(ne Monod) and Paul Godard, a Swiss physician.[15] regular haunts. The Cinmathque had been founded
His wealthy parents came from Protestant families of by Henri Langlois and Georges Franju in 1936; Work
1

and Culture was a workers education group for which

Andr Bazin had organized wartime lm screenings and
discussions and which had become a model for the lm
clubs that had risen throughout France after the Liberation; Cin-Club du Quartier Latin (CCQL), founded
1947-48, was animated and intellectually led by Maurice
Schrer.[22] At these clubs he met fellow lm enthusiasts
including Jacques Rivette, Claude Chabrol, and Franois
Truaut.[23] Godard was part of a generation for whom
cinema took on a special importance. He has said: In
the 1950s cinema was as important as breadbut it isn't
the case any more. We thought cinema would assert itself as an instrument of knowledge, a microscope... a
telescope.... At the Cinmathque I discovered a world
which nobody had spoken to me about. They'd told us
about Goethe, but not Dreyer. ... We watched silent lms
in the era of talkies. We dreamed about lm. We were
like Christians in the catacombs.[24][25]
His foray into lms began in the eld of criticism. Along
with Maurice Schrer (writing under the to-be-famous
pseudonym ric Rohmer) and Rivette, he founded the
short-lived lm journal Gazette du cinma, which saw
publication of ve issues in 1950.[26] When Bazin cofounded the inuential critical magazine Cahiers du
cinma in 1951, Godard was the rst of the younger
critics from the CCQL/Cinmathque group to be
publishedthe January 1952 issue featured his review of
an American melodrama directed by Rudolph Mat, No
Sad Songs for Me. His Defence and Illustration of Classical Dcoupage published in September 1952, in which
he attacks an earlier article by Bazin and defends the use
of the shot-reverse shot technique, is one of his earliest important contributions to cinema.[27] Praising Otto
Preminger and, the greatest American artistHoward
Hawks", Godard raises their harsh melodramas above the
more formalistic and overtly artful lms of Welles, De
Sica and Wyler which Bazin endorsed""[28] At this point
Godards activities did not include making lmsrather
he watched lms, and wrote about them, and helped others make lms, notably Rohmer, with whom he worked
on w:fr:Prsentation ou Charlotte et son steak.[29]

2.2

Filmmaking

Having left Paris in the autumn of 1952, Godard returned

to Switzerland and went to live with his mother in Lausanne. He became friendly with his mothers lover, JeanPierre Laubscher, who was a labourer on the Grande Dixence Dam. Through Laubscher he secured work himself
as a construction worker at the Plaz Fleuri work site at
the dam. He saw the possibility of making a documentary
lm about the dam and when his initial contract ended, in
order to prolong his time at the dam, moved to the post
of telephone switchboard operator. It was whilst on duty,
in April 1954, that he put through a call to Laubscher
that relayed the fact that Odile Monod, his mother, had
died in a scooter accident. Thanks to Swiss friends who

CINEMATIC PERIOD (196068)

lent him a 35mm movie camera, he was able to shoot on

35mm lm. He rewrote the commentary that Laubscher
had written, and gave his lm a rhyming title Opration
bton (Operation concrete). The company that administered the dam bought the lm and used it for publicity
purposes.[30]
As he continued to work for Cahiers, he made Une femme
coquette (1955), in Geneva, a ten-minute short; and in
January 1956 he returned to Paris. A plan for a feature
lm of Goethe's Elective Anities proved too ambitious
and came to nothing. Truaut enlisted his help to work
on an idea he had for a lm based on the true-crime story
of a petty criminal, Michel Portail, who had shot a motorcycle policeman and whose girlfriend had turned him
in to the police. But Truaut failed to interest any producers. Another project with Truaut, a comedy about a
country girl arriving in Paris, was also abandoned.[31] He
worked with Rohmer on a planned series of short lms
centering around the lives of two young women, Charlotte
and Vronique; and in the autumn of 1957, Pierre Braunberger produced the rst lm in the series, All the Boys
Are Named Patrick, directed by Godard from Rohmers
script. Une histoire d'eau (1958) was created largely out
of unused footage shot by Truaut. In 1958, Godard,
with a cast that included Jean-Paul Belmondo and Anne
Colette, made his last short before gaining international
prominence as a lmmaker, Charlotte et son Jules, an
homage to Jean Cocteau. The lm was shot in Godards
hotel room on the rue de Rennes and apparently reected
something of the 'romantic austerity' of Godards own
life at this time. His Swiss friend Roland Tolmatcho
noted; In Paris he had a big Bogart poster on the wall
and nothing else. [32] In December 1958, Godard reported from the Festival of Short Films in Tours and
praised the work of, and became friends with, Jacques
Demy, Jacques Rozier, and Agns Vardahe already
knew Alain Resnais whose entry he also praisedbut
Godard now wanted to make a feature lm. He travelled
to the 1959 Cannes Film Festival and asked Truaut to let
him use the story on which they had collaborated in 1956,
about the car thief Michel Portail. He sought money from
the producer Georges de Beauregard whom he had met
previously whilst working briey in the publicity department of Twentieth Century Foxs Paris oce, and who
was also at the Festival. Beauregard could oer his expertise, but was in debt from two productions based on
Pierre Loti stories and so nance came rather from a lm
distributor, Ren Pignires.[33]

3 Cinematic period (196068)

Godards most celebrated period as a director spans
roughly from his rst feature, Breathless (1960), through
to Week End (1967). His work during this period focused
on relatively conventional lms that often refer to different aspects of lm history. Although Godards work

3.1

Films

during this time is considered groundbreaking in its own

right, the period stands in contrast to that which immediately followed it, during which Godard ideologically
denounced much of cinemas history as bourgeois and
therefore without merit.

3.1

Films

Godards Breathless ( bout de soue, 1960), starring Jean-Paul Belmondo and Jean Seberg distinctly
expressed the French New Wave's style, and incorporated quotations from several elements of popular
culturespecically American lm noir.[34] The lm employed various innovative techniques such as jump cuts
traditionally considered amateurish [35] character asides
and breaking the eyeline match rule in continuity editing.
Truaut co-wrote Breathless with Godard.
Godard viewed lm-making as an extension of criticism
and was more interested in redening lm structure and
style than actually being understood by the public. Often
his movies were more about the presentation of a story
than anything else. The stories in his lms were very simple yet unfocused and constantly digressing from the main
story line (Jean-Luc Godard and Vivre Sa Vie by Tom
Milne, 1962).
From the beginning of his career, Godard included more
lm references into his movies than did any of his New
Wave colleagues. In Breathless, his citations include
a movie poster showing Humphrey Bogart, -from The
Harder They Fall, his last lm-,[36] (whose expression the
lead actor Jean-Paul Belmondo tries reverently to imitate); visual quotations from lms of Ingmar Bergman,
Samuel Fuller, Fritz Lang, and others; and an onscreen
dedication to Monogram Pictures,[37] an American Bmovie studio. Quotations from, and references to literature include William Faulkner, Dylan Thomas, Louis
Aragon, Rilke, Franoise Sagan, Maurice Sachs. The lm
also contains citations in images or on the soundtrack
Mozart, Picasso, J.S. Bach, Paul Klee, and Auguste
Renoir. This rst-person cinema invoked not the directors experience but his presence.[38] If, in Rohmers
words, life was the cinema, then a lm lled with movie
references was supremely autobiographical.

Robert Bresson (above). Godard told a journalist, I really made

it [Le Petit Soldat] under the inuence of Bresson and of Malraux. Bressons 1959 lm Pickpocket was a model for Godard
and had an eect on Godards work that was profound and
enduring.[39]

eraman was Raoul Coutard, the producer Beauregards

choice. Godard wanted Breathless to be shot like a documentary, with a lightweight handheld camera and a minimum of added lighting and Coutard had had experience as a documentary cameraman while working for the
French armys information service in Indochina during
the French-Indochina War. Tracking shots were lmed
by Coutard from a wheelchair pushed by Godard. Though
he had prepared a traditional screenplay, he dispensed
with it and Godard wrote the dialogue day by day as
the production went ahead.[42] The lms importance was
recognized immediately and in January 1960, Godard
won the Jean Vigo Prize, awarded " to encourage an
auteur of the future. One reviewer mentioned Alexandre
Astruc's prophecy of the age of the camra-stylo, the
camera
that a new generation would use with the ecacy
Godard wanted to hire the American actress Jean Sewith
which
a writer uses his pen"here is in fact the rst
berg, who was living in Paris with her husband Franois
work
authentically
written with a camra-stylo".[43]
Moreuil, an attorney, to play the American woman. Seberg had become famous in 1956 when Otto Preminger The following year Godard made Le Petit Soldat (The Lithad chosen her to play Joan of Arc in his Saint Joan, tle Soldier), lmed on location in Geneva,[44] and dealing
and had then cast her in his acidulous 1958 adaptation with the Algerian War of Independence. The lm beof Bonjour Tristesse.[40] Her performance in this lm gins on 13 May 1958, the date of the attempted putsch
had not been generally regarded as a successthe New in Algeria, and ends later the same month. In the lm,
York Times critic called her a misplaced amateurbut Bruno Forestier a photojournalist who has links with a
Truaut and Godard disagreed. In the role of Michel right wing paramilitary group working for the French
Poiccard, Godard cast Belmondo, an actor he had al- government, is ordered to murder a professor accused of
ready called, writing in Arts in 1958, the Michel Si- aiding the Algerian resistance. He is in love with Veronmon and the Jules Berry of tomorrow.[41] The cam- ica Dreyer, a young woman who has worked with the Al-

Anna Karinahaving rejected a role in Breathless she appeared in Godards next lm Le Petit Soldat"it will be something about torture Godard told France-Observateurand concerned Frances war in Algeria

gerian ghters. He is captured by Algerian militants and

tortured. His organisation captures and tortures her. The
'little soldier' was played by Michel Subor and Veronica
Dreyer by Anna Karinathe rst collaboration between
Godard and the Danish-bornof Russian extraction
actress. Unlike Seberg, Karina had virtually no experience as an actress and Godard used her awkwardness as
an element of her performance. He wrote the dialogue
every day and, since it was lmed without direct sound
and was dubbed, called dialogue to the actors. Forestier
was a character close to Godard himself, an image-maker
and intellectual, 'more or less my spokesman, but not totally' Godard told an interviewer.[45] The lm, due to its
political nature, implied that France was involved in a
dirty war, engaging in torture, and was banned by the
French government until January 1963. Godard and Karina were a couple by the end of the shoot. She appeared
again, along with Belmondo, in Godards rst color lm,
A Woman Is a Woman (1961), which was intended as a
homage to the American musical. Adjustments that Godard made to the original version of the story gave it autobiographical resonances, 'specically in regard to his
relationship with Anna Karina'. The lm revealed 'the
connement within the four walls of domestic life', and
'the emotional and artistic fault lines that threatened their
relationship'.[46]
Godards next lm, Vivre sa vie (My Life to Live) (1962),
was one of his most popular among critics. Karina starred
as Nana, an errant mother and aspiring actress whose nancially strained circumstances lead her to the life of a
streetwalker. It is an episodic account of her rationalizations to prove she is free, even though she is tethered at
the end of her pimps short leash. In one touching scene
in a cafe, she spreads her arms out and announces she is
free to raise or lower them as she wishes.
Les Carabiniers (1963) was about the horror of war and
its inherent injustice. It was the inuence and suggestion of Roberto Rossellini that led Godard to make this
lm which follows two peasants who join the army of a

CINEMATIC PERIOD (196068)

king, only to nd futility in the whole thing as the king

reveals the deception of war-administrating leaders. His
most commercially successful lm was Le Mpris (Contempt) (1963), starring Michel Piccoli and one of Frances
biggest female stars, Brigitte Bardot. A coproduction between Italy and France, Contempt became known as a pinnacle in cinematic modernism with its profound reexivity. The lm follows Paul (Piccoli), a screenwriter who is
commissioned by the arrogant American movie producer
Prokosch (Jack Palance) to rewrite the script for an adaptation of Homer's Odyssey, which the Austrian director
Fritz Lang has been lming. Langs 'high culture' interpretation of the story is lost on Prokosch, whose character
is a rm indictment of the commercial motion picture hierarchy. Another prominent theme is the inability to reconcile love and labor, which is illustrated by Pauls crumbling marriage to Camille (Bardot) during the course of
shooting.
In 1964, Godard and Karina formed a production company, Anouchka Films. He directed Bande part (Band
of Outsiders), another collaboration between the two and
described by Godard as "Alice in Wonderland meets
Franz Kafka. It follows two young men, looking to score
on a heist, who both fall in love with Karina, and quotes
from several gangster lm conventions.
Une femme marie (A Married Woman) (1964) followed
Band of Outsiders. It was a slow, deliberate, toned-down
black-and-white picture without a real story. The lm
was shot in four weeks[47] and was an explicitly and stringently modernist lm. It showed Godards engagement
with the most advanced thinking of the day, as expressed
in the work of Claude Lvi-Strauss and Roland Barthes"
and its fragmentation and abstraction reected also his
loss of faith in the familiar Hollywood styles. [48] Godard made the lm while he acquired funding for Pierrot
le fou (1965).
In 1965, Godard directed Alphaville, a futuristic blend of
science ction, lm noir, and satire. Eddie Constantine
starred as Lemmy Caution, a detective who is sent into
a city controlled by a giant computer named Alpha 60.
His mission is to make contact with Professor von Braun
(Howard Vernon), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the
computer. Pierrot le fou (1965) featured a complex storyline, distinctive personalities, and a violent ending. Gilles
Jacob, an author, critic, and president of the Cannes Film
Festival, called it both a retrospective and recapitulation in the way it played on so many of Godards earlier
characters and themes. With an extensive cast and variety
of locations, the lm was expensive enough to warrant signicant problems with funding. Shot in color, it departed
from Godards minimalist works (typied by Breathless,
Vivre sa vie, and Une femme marie). He solicited the
participation of Jean-Paul Belmondo, by then a famous
actor, in order to guarantee the necessary amount of capital.

3.2

Politics

Masculin, fminin (1966), based on two Guy de Maupassant stories, La Femme de Paul and Le Signe, was a
study of contemporary French youth and their involvement with cultural politics. An intertitle refers to the
characters as The children of Marx and Coca-Cola. Although Godards cinema is sometimes thought to depict
a wholly masculine point of view, Phillip John Usher has
demonstrated how the lm, by the way it connects images
and disparate events, seems to blur gender lines.[49]

vie.

La Chinoise (1967) saw Godard at his most politically

forthright so far. The lm focused on a group of students
and engaged with the ideas coming out of the student activist groups in contemporary France. Released just before the May 1968 events, the lm is thought by some to
foreshadow the student rebellions that took place.

the idea, which had been circulating through press in previous weeks, that Godard might be an anti-Semite, and
thus undeserving of the accolade. Cieply makes reference to Richard Brody's book, Everything is Cinema:
The Working Life of Jean-Luc Godard, and alluded to
a previous, longer article published by the Jewish Journal as lying near the origin of the debate.[51] The article
also draws upon Brodys book, for example in the following quotation, which Godard made on television in 1981:
Moses is my principal enemy...Moses, when he received
the commandments, he saw images and translated them.
Then he brought the texts, he didn't show what he had
seen. Thats why the Jewish people are accursed.[52]
Immediately after Cieplys article was published, Brody
made a clear point of criticizing the extremely selective and narrow use of passages in his book, and noted
that Godards work has approached the Holocaust with
the greatest moral seriousness.[53] Indeed, his documentaries feature images from the Holocaust in a context
suggesting he considers Nazism and the Holocaust as the
nadir of human history. Godards views become more
complex regarding the State of Israel. In 1970, Godard
traveled to the Middle East to make a pro-Palestinian lm
he didn't complete and whose footage eventually became
part of the 1976 lm Ici et ailleurs. In this lm, Godard
seems to view the Palestinian cause as one of many worldwide Leftist revolutionary movements. Elsewhere, Godard has explicitly identied himself as an anti-Zionist
but has denied the accusations of anti-Semitism.[54]

In 1960s Paris, the political milieu was not overwhelmed

by one specic movement. There was, however, a distinct
post-war climate shaped by various international conicts
such as the colonialism in North Africa and Southeast
Asia. The side that opposed such colonization included
the majority of French workers, who belonged to the
French communist party, and the Parisian artists and writers who positioned themselves on the side of social reform
Godard followed with Made in U.S.A (1966), whose and class equality. A large portion of this group had a parsource material was Richard Stark's The Jugger; and Two ticular anity for the teachings of Karl Marx. Godards
or Three Things I Know About Her (1967), in which Marxist disposition did not become abundantly explicit
Marina Vlady portrays a woman leading a double life as until La Chinoise and Week End, but is evident in several
housewife and prostitute. A Classic New Wave crime lmsnamely Pierrot and Une femme marie.
thiller, Made in the U.S.A is inspired by American Noir Godard has been accused by some of harboring antilms. Anna Karina stars as the anti-hero searching for her Semitic views: in 2010, in the lead-up to the presentamurdered lover; the lm includes a cameo by Marianne tion of Godards honorary Oscar, a prominent article in
Faithfull.
the New York Times by Michael Cieply drew attention to

That same year, Godard made a more colorful and political lm, Week End. It follows a Parisian couple as they
leave on a weekend trip across the French countryside
to collect an inheritance. What ensues is a confrontation with the tragic aws of the over-consuming bourgeoisie. The lm contains some of the most written-about
scenes in cinemas history. One of them, an eight-minute
tracking shot of the couple stuck in an unremitting trac
jam as they leave the city, is cited as a new technique Godard used to deconstruct bourgeois trends.[50] Startlingly,
a few shots contain extra footage from, as it were, before
the beginning of the take (while the actors are preparing)
and after the end of the take (while the actors are coming
out of character). Week End's enigmatic and audacious
end title sequence, which reads End of Cinema, appropriately marked an end to the narrative and cinematic period in Godards lmmaking career.

3.2

Politics

Politics are never far from the surface in Godards lms.

One of his earliest features, Le Petit Soldat, dealt with the
Algerian War of Independence, and was notable for its attempt to present the complexity of the dispute rather than
pursue any specic ideological agenda. Along these lines,
Les Carabiniers presents a ctional war that is initially romanticized in the way its characters approach their service, but becomes a sti anti-war metonym. In addition
to the international conicts Godard sought an artistic response to, he was also very concerned with the social
problems in France. The earliest and best example of
this is Karinas potent portrayal of a prostitute in Vivre sa

3.2.1 Vietnam War

Godard produced several pieces that directly address the
Vietnam War. Furthermore, there are two scenes in
Pierrot le fou that tackle the issue. The rst is a scene
that takes place in the initial car ride between Ferdinand
(Belmondo) and Marianne (Karina). Over the car radio,
the two hear the message garrison massacred by the Viet
Cong who lost 115 men. Marianne responds with an

4 REVOLUTIONARY PERIOD (196879)

extended musing on the way the radio dehumanizes the refrain throughout Godards cinematic period is that of
Northern Vietnamese combatants.
the bourgeoisies consumerism, the commodication of
daily
life and activity, and mans alienationall central
In the same lm, the lovers accost a group of Amerfeatures
of Marxs critique of capitalism.
ican sailors along the course of their liberating crime
spree. Their immediate reaction, expressed by Marianne,
is Damn Americans!", an obvious outlet of the frustration so many French communists felt towards American
hegemony. Ferdinand then reconsiders, Thats OK, well
change our politics. We can put on a play. Maybe theyll
give us some dollars. Marianne is puzzled, but Ferdinand suggests that something the Americans would like
would be the Vietnam War. The ensuing sequence is a
makeshift play where Marianne dresses up as a stereotypical Vietnamese woman and Ferdinand as an American
sailor. The scene ends on a brief shot revealing a chalk
message left on the oor by the pair, Long live Mao!"
(Vive Mao!).

In an essay on Godard, philosopher and aesthetics scholar

Jacques Rancire states, When in Pierrot le fou, 1965, a
lm without a clear political message, Belmondo played
on the word 'scandal' and the 'freedom' that the Scandal
girdle supposedly oered women, the context of a Marxist critique of commodication, of pop art derision at
consumerism, and of a feminist denunciation of womens
false 'liberation', was enough to foster a dialectical reading of the joke and the whole story. The way Godard
treated politics in his cinematic period was in the context
of a joke, a piece of art, or a relationship, presented to
be used as tools of reference, romanticizing the Marxist
rhetoric, rather than being solely tools of education.

Notably, he also participated in Loin du Vietnam (1967).

An anti-war project, it consists of seven sketches directed by Godard (who used stock footage from La Chinoise), Claude Lelouch, Joris Ivens, William Klein, Chris
Marker, Alain Resnais and Agns Varda.

Une femme marie is also structured around Marxs concept of commodity fetishism. Godard once said that it
is a lm in which individuals are considered as things,
in which chases in a taxi alternate with ethological interviews, in which the spectacle of life is intermingled with
its analysis. He was very conscious of the way he wished
to portray the human being. His eorts are overtly characteristic of Marx, who in his Economic and Philosophical Manuscripts of 1844 gives one of his most nuanced
elaborations, analyzing how the worker is alienated from
his product, the object of his productive activity. Georges
Sadoul, in his short rumination on the lm, describes it
as a sociological study of the alienation of the modern
woman.

3.3

Bertolt Brecht

Godards engagement with German poet and playwright

Bertolt Brecht stems primarily from his attempt to transpose Brechts theory of epic theatre and its prospect of
alienating the viewer (Verfremdungseekt) through a radical separation of the elements of the medium (in Brechts
case theater, but in Godards, lm). Brechts inuence is
keenly felt through much of Godards work, particularly
before 1980, when Godard used lmic expression for specic political ends.
For example, Breathless' elliptical editing, which denies
the viewer a uid narrative typical of mainstream cinema,
forces the viewers to take on more critical roles, connecting the pieces themselves and coming away with more
investment in the works content. Godard also employs
other devices, including asynchronous sound and alarming title frames, with perhaps his favorite being the character aside. In many of his most political pieces, specifically Week End, Pierrot le fou, and La Chinoise, characters address the audience with thoughts, feelings, and
instructions.

4 Revolutionary period (196879)

The period that spans from May 1968 indistinctly into
the 1970s has been subject to an even larger volume of
varying labeling. They include everything from his militant period, to his radical period, along with terms as
specic as "Maoist" and vague as political. The period
saw Godard align himself with a specic revolution and
employ a consistent revolutionary rhetoric.

4.1 Films

Amid the upheavals of the late 1960s, Godard became interested in Maoist ideology. He formed the
3.4 Marxism
socialist-idealist Dziga-Vertov cinema group with JeanPierre Gorin and produced a number of shorts outlining
See also: Karl Marx in lm
his politics. In that period he travelled extensively and
shot a number of lms, most of which remained unnA Marxist reading is possible with most if not all of ished or were refused showings. His lms became inGodards early work. Godards direct interaction with tensely politicized and experimental, a phase that lasted
Marxism does not become explicitly apparent, however, until 1980.
until Week End, where the name Karl Marx is cited in In 1978 Godard was commissioned by the Mozambican
conjunction with gures such as Jesus Christ. A constant government to make a short lm. During this time his

7
experience with Kodak lm led him to criticize the stock (1978).
lm as inherently racist since it did not reect the variety, nuance or complexity in dark brown or dark skin.
This was because Kodak Shirley cards were only made
5 1980present
for Caucasian subjects, a problem that was not rectied
[55]
until 1995.
Godards return to somewhat more traditional ction was
According to Elliott Gould, he and Godard met to discuss
marked with Sauve qui peut (la vie) (1980), the rst of
the possibility of Godards directing Jules Feier's 1971
a series of more mainstream lms marked by autobiosurrealist play Little Murders. During this meeting, Gographical currents: for example Passion (1982), Lettre
dard said his two favorite American writers were Feier
Freddy Buache (1982), Prnom Carmen (1984), and
and Charles M. Schulz. Godard soon declined the opporGrandeur et dcadence d'un petit commerce de cinma
tunity to direct; the job later went to Alan Arkin.
(1986). There was, though, another urry of controversy
with Je vous salue, Marie (1985), which was condemned
by the Catholic Church for alleged heresy, and also with
4.2 Jean-Pierre Gorin
King Lear (1987), an extraordinary but much-excoriated
essay on William Shakespeare and language. Also comAfter the events of May 1968, when the city of Paris
pleted in 1987 was a segment in the lm ARIA which
saw total upheaval in response to the authoritarian de
was based loosely from the plot of Armide; it is set in a
Gaulle", and Godards professional objective was recongym and uses several arias by Jean-Baptiste Lully from
sidered, he began to collaborate with like-minded indihis famous Armide.
viduals in the lmmaking arena. The most notable of
these collaborations was with a young Maoist student, His later lms have been marked by great formal beauty
Jean-Pierre Gorin, who displayed a passion for cinema and frequently a sense of requiemNouvelle Vague (New
Wave, 1990), the autobiographical JLG/JLG, autoportrait
that grabbed Godards attention.
de dcembre (JLG/JLG: Self-Portrait in December, 1995),
Between 1968 and 1973, Godard and Gorin collaborated
and For Ever Mozart (1996). Allemagne anne 90 neuf
to make a total of ve lms with strong Maoist messages.
zro (Germany Year 90 Nine Zero, 1991) was a quasiThe most prominent lm from the collaboration was Tout
sequel to Alphaville but done with an elegiac tone and fova bien, which starred Jane Fonda and Yves Montand, at
cus on the inevitable decay of age. Between 1988 and
the time very big stars. Jean-Pierre Gorin now teaches the
1998 he produced perhaps the most important work of
study of lm at the University of California, San Diego.
his career in the multi-part series Histoire(s) du cinma, a
monumental project which combined all the innovations
of his video work with a passionate engagement in the is4.3 The Dziga Vertov group
sues of twentieth-century history and the history of lm
The small group of Maoists that Godard had brought to- itself.
gether, which included Gorin, adopted the name Dziga
Vertov Group. Godard had a specic interest in Vertov, a
Soviet lmmakerwhose adopted name is derived from
the verb to spin or rotate[56] and is best remembered for
Man with the Movie Camera (1929) and a contemporary
of both the great Soviet montage theorists, most notably
Sergei Eisenstein, and Russian constructivist and avantgarde artists such as Alexander Rodchenko and Vladimir
Tatlin. Part of Godards political shift after May 1968
was toward a proactive participation in the class struggle.

In 2001, In Praise of Love (loge de l'amour) was released. The lm is notable for its use of both lm and
videothe rst half captured in 35-mm black and white,
the latter half shot in color on DVand subsequently
transferred to lm for editing. The blending of lm and
video recalls the statement from Sauve Qui Peut, in which
the tension between lm and video evokes the struggle
between Cain and Abel. The lm is also noted for containing themes of aging, love, separation, and rediscovery
as it follows the young artist Edgar in his contemplation
of a new work on the four stages of love.

4.4

In Notre musique (2004), Godard turned his focus to war,

specically, the war in Sarajevo, but with attention to all
war, including the American Civil War, the war between
the US and Native Americans, and the IsraeliPalestinian
conict. The lm is structured into three Dantean kingdoms: Hell, Purgatory and Paradise. Godards fascination with paradox is a constant in the lm. It opens with a
long, ponderous montage of war images that occasionally
lapses into the comic; Paradise is shown as a lush wooded
beach patrolled by US Marines.

Sonimage

In 1972, Godard and Swiss lmmaker Anne-Marie

Miville started the alternative video production and distribution company Sonimage, based in Grenoble.[57] Under Sonimage, Godard produced both Numro Deux
(1975) and Sauve qui peut (la vie)" (1980). In 1976,
Godard and Miville, his wife,[58] collaborated on a series of innovative video works for European broadcast
television called "Six fois deux/Sur et sous la communication" (1976)[59] and France/tour/dtour/deux/enfants Godards lm, Film Socialisme, premiered in the Un

7 COLLABORATION WITH ECM RECORDS

Certain Regard section at the 2010 Cannes Film Festival.[60][61] It was released theatrically in France in May
2010.
Godard was rumored to be considering directing a lm
adaptation of Daniel Mendelsohn's The Lost: A Search
for Six of Six Million, an award-winning book about the
Holocaust.[62] In 2013, Godard released the short Les trois
dsastres (The Three Disasters) as part of the omnibus
lm 3X3D with lmmakers Peter Greenaway and Edgar
Pera.[63] 3X3D premiered at the 2013 Cannes Film Festival.[64]
His 2014 lm Goodbye to Language, shot in 3-D,[65][66]
revolves around a couple who cannot communicate with
each other until their pet dog acts as an interpreter for
them. The lm was selected to compete for the Palme
d'Or in the main competition section at the 2014 Cannes
Film Festival, where it won the Jury Prize.[67]
In 2015 J. Hoberman reported that Godard is working on
a new lm.[68]

Filmography

Main article: Jean-Luc Godard lmography

Feature Films

1969 British Sounds

1969 Wind from the East
1969 Struggles in Italy
1971 Vladimir et Rosa
1972 Tout va bien
1974 Here and Elsewhere
1975 Number Two
1976 Hows It Going?
1980 Every Man for Himself
1982 Passion
1983 First Name: Carmen
1985 Hail Mary
1985 Dtective
1987 King Lear
1987 Keep Your Right Up
1990 New Wave
1991 Germany Year 90 Nine Zero
1993 The Kids Play Russian
1993 Oh Woe Is Me

1960 Breathless

1994 JLG/JLG Self-Portrait in December

1960 Le Petit soldat

1996 For Ever Mozart

1961 A Woman Is a Woman

2001 In Praise of Love

1962 My Life to Live

2004 Notre musique

1963 Les Carabiniers

2010 Film Socialisme

1963 Contempt
1964 Band of Outsiders
1964 A Married Woman
1964 Alphaville

2014 Goodbye to Language

7 Collaboration
Records

with

ECM

1968 A Film Like the Others

Godard shares a friendship with Manfred Eicher, founder

and head of the innovative German music label ECM
Records.[69] The label has released the soundtracks
of Nouvelle Vague (ECM NewSeries 1600-01) and
Histoire(s) du cinma (ECM NewSeries 1706) by Godard.
This collaboration expanded over the years and led on
the one hand into the contribution of several stills from
Godards movies for album covers.[70] On the other hand
Eicher took over the musical direction of many of Godards lms like Allemagne 90 neuf zro, Hlas Pour Moi,
JLG or For Ever Mozart. Additionally Godard has released a collection of short lms on the label with AnneMarie Miville called Four Short Films (ECM 5001).[71]

1968 One Plus One

Album covers with Godards contribution include:[72]

1965 Pierrot le fou

1966 Masculin Fminin
1966 Made in U.S.A.
1967 Two or Three Things I Know About Her
1967 La Chinoise
1967 Week End
1968 Le Gai savoir

9
Voci, works of Luciano Berio played by Kim
Kashkashian (ECM 1735)

[10] 1 PM. Pennebaker Hegedus Films. Retrieved 5 January

2012.

Words of The Angel, by Trio Mediaeval (ECM

1753)

[11] BFI (4 September 2006). Jean-Luc Godard: Biography. BFI. Archived from the original on 5 June 2011.
Retrieved 28 September 2011. He made an enormous
impact on the future direction of cinema, inuencing lmmakers as diverse as Robert Altman, Martin Scorsese, Jim
Jarmusch, Wim Wenders, Steven Soderbergh, Quentin
Tarantino and Wong Kar-Wai.

Morimur, by Christoph Poppen & The Hilliard Ensemble (ECM 1765)

Songs of Debussy and Mozart, by Juliane Banse &
Andrs Schi (ECM 1772)
Requiem for Larissa, by Valentin Silvestrov (ECM
1778)
Soul of Things, by Tomasz Stanko Quartet (ECM
1788)
Suspended Night, by Tomasz Stanko Quartet (ECM
1868)
Asturiana: Songs from Spain and Argentina, by Kim
Kashkashian & Robert Levin (ECM 1975)
Distances, by Norma Winstone, Glauco Venier &
Klaus Gesing (ECM 2028)
Live at Birdland, by Lee Konitz, Brad Mehldau,
Charlie Haden & Paul Motian (ECM 2162)

[12] Grant 2007, Vol. 3, p. 49.

[13] Moullet, Luc (2005). Jean-Luc Godard. In Jim Hillier.
Cahiers du cinma: 19601968. New Wave, New Cinema,
Re-evaluating Hollywood 2. Milton Park, Oxford, UK:
Routledge. pp. 3548. ISBN 0-415-15106-6. Retrieved
28 September 2011.
[14] Richard Brody, Everything is Cinema, p. 4
[15] Morrey 2005, p. 1.
[16] The religion of director Jean-Luc Godard.
ents.com. Retrieved 29 December 2011.

Adher-

[17] Jean Monod (17651836), pasteur. Ordiecole.com.

Retrieved 29 December 2011.
[18] Jean-Luc Godard. AllMovie. Retrieved 28 June 2014.
[19] Richard Brody, Everything is Cinema, p6

See also

[20] Richard Brody, p. 7

[21] MacCabe 2005, p. 36.

Jean-Luc Godard lmography

Jean-Luc Godard bibliography

References

[22] Richard Brody, pp. 817

[23] Jean-Luc Godard Biography: The Black Sheep. New
Wave Film. Retrieved 24 May 2013.
[24] Godard Biography. Monsters and Critics. Retrieved 24
May 2013.

[2] Grant 2007, Vol. 2, p. 259.

[25] 'Le cinema n'a pas su remplir son role' Jean-Pierre

Lavoignat and Christophe d'Yvoire, Studio , number 96,
155-158

[3] Jean-Luc Godard. New Wave Film. Retrieved 24 May

2013.

[26] Jean-Luc Godard Biography: What is Cinema?". New

Wave Film. Retrieved 24 May 2013.

[4] Grant 2007, Vol. 4, p. 126.

[27] Jean-Luc Godard Biography: Cahiers du Cinema. New

Wave Film. Retrieved 24 May 2013.

[5] David Sterritt. 40 Years Ago, 'Breathless Was Hyperactive Anarchy. Now Its Part of the Canon. Retrieved 24
May 2013.

[28] Brody, pp. 2930.

[1] Grant 2007, Vol. 4, p. 235.

[6] BFI Sight & Sound Top Ten Poll 2002 Poll The
Critics Top Ten Directors. Archived from the original
on 23 June 2011.

[29] Brody, pp. 2627.

[30] Richard Brody, pp. 3134.
[31] Brody, pp. 3942.

[7] Grant 2007, Vol. 4, p. 238.

[32] Brody, p. 45.

[8] Grant 2007, Vol. 4, p. 202.

[33] Brody, pp. 47, 50.

[9] Freeman, Nate. Godard Companion: Director Will Not

Travel to Oscars for a Bit of Metal | The New York Observer. Observer.com. Retrieved 6 February 2012.

[34] Brody, p. 59.

[35] Brody, p. 69.

10

[36] Brody, p. 70.

[37] MoMA.
[38] Brody, p. 71.
[39] Brody, p. 97.
[40] Brody, p. 54.
[41] Godard on Godard, p. 150.
[42] Brody, p. 60.
[43] Brody, pp. 7273.
[44] Brody, p. 89.
[45] Brody, p. 92.
[46] Brody, p. 110.
[47] Luc Moullet, Masters of Cinema #4, booklet p. 10.
[48] Brody, pp. 190191.
[49] Usher, Phillip John. (2009). De sexe incertain: Masculin, Fminin de Godard. French Forum, vol. 34, no.
2, pp. 97112.
[50] Morrey, Douglas (2005). Jean-Luc Godard.
[51] Michael Cieply (1 November 2010). An Honorary Oscar
Revives a Controversy. New York Times. Retrieved 27
January 2011.
[52] TOM TUGEND (6 October 2010). Is Jean-Luc Godard
an anti-Semite?". The Jewish Journal. Retrieved 9 May
2012.
[53] Richard Brody (2 November 2010). Jean-Luc Godard:
The Oscar Question. The Front Row. Retrieved 27 January 2011.
[54] Kyle Buchanan (15 November 2010). Jean-Luc Godard
Says Honorary Oscar Meant Nothing to Him. Vulture.
Retrieved 9 May 2012.
[55] National Public Radio. Light And Dark: The Racial Biases That Remain In Photography (April 16, 2014)
[56] Kino-eye: the writings of Dziga Vertov. Google Books.
Retrieved 6 March 2010.
[57] Jean-Luc Godard. Electronic Arts Intermix. Retrieved
11 April 2012.
[58] Anne-Marie Mieville. Internet Movie Data Base. Retrieved 11 April 2012.
[59] Six Fois Deux / Sur et Sous La Communication [TV Documentary Series]". Fandango. Retrieved 11 April 2012.
[60] New Godard: Socialisme"". Justpressplay.net. 8 May
2009. Retrieved 6 March 2010.
[61] Leer, Rebecca (15 April 2010). Hollywood Reporter:
Cannes Lineup. Hollywood Reporter. Retrieved 16 April
2010.
[62] Zeitchik, Steven (3 June 2009). Holocaust Tale Piques
Auteur. The Hollywood Reporter.

10 FURTHER READING

[63] 3X3D, a 3D Stereoscopic Feature from Jean-Luc Godard, Peter Greenaway, and Edgar Pera. Stereoscopy
News. 9 February 2013. Retrieved 9 February 2013.
[64] 3x3D: Cannes Review. The Hollywood reporter. 30
May 2013. Retrieved 4 July 2013.
[65] craig keller. (13 September 2011). Cinemasparagus:
ADIEU AU LANGAGE / Jean-Luc Godard / 5
x 45-Minute Interview This Week. Cinemasparagus.blogspot.com. Retrieved 29 December 2011.
[66] Daily Brieng. JLG, Benning/Cassavetes, Jia + Zhao on
Notebook. MUBI. 13 September 2011. Retrieved 29
December 2011.
[67] Awards 2014 : Competition. Cannes. Retrieved 25 May
2014.
[68] Hoberman, J. (February 24, 2015). Brother From Another Planet. The Nation. Retrieved March 1, 2015.
[69] Lake: Horizons Touched (2010), pp. 115133.
[70] Kern: Der Blaue Klang (2010), pp. 99111.
[71] Lake: Horizons Touched (2010), pp. 512.
[72] Lake: Windfall Light (2010), pp. 415441.

10 Further reading
Grant, Barry Keith, ed. (2007). Schirmer Encyclopedia of Film. Detroit: Schirmer Reference. ISBN
0-02-865791-8.
MacCabe, Colin (2005). Godard: A Portrait of the
Artist at Seventy. New York: Faber and Faber. ISBN
978-0-571-21105-0.
Morrey, Douglas (2005). Jean-Luc Godard. New
York: Manchester University Press. ISBN 978-07190-6759-4.
Steritt, David (1998). Jean-Luc Godard: Interviews.
Jackson, Mississippi: University Press of Mississippi. ISBN 9781578060818.
Usher, Phillip John (2009). De Sexe Incertain:
Masculin, Fminin de Godard. French Forum, vol.
34, no. 2, pp. 97112.
Godard, Jean-Luc (2014). Introduction to a True
History of Cinema and Television. Montreal: caboose. ISBN 978-0-9811914-1-6.
Brody, Richard (2008). Everything Is Cinema: The
Working Life of Jean-Luc Godard. ISBN 978-08050-6886-3.
Temple, Michael. Williams, James S. Witt, Michael
(eds.) 2007. For Ever Godard. London: Black Dog
Publishing.

11
Dixon, Wheeler Winston. The Films of Jean-Luc
Godard. Albany: State University of New York
Press, 1997.
Godard, Jean-Luc (2002). The Future(s) of Film:
Three Interviews 200001. Bern; Berlin: Verlag
Gachnang & Springer. ISBN 978-3-906127-62-0.
Loshitzky, Yosefa. The Radical Faces of Godard
and Bertolucci.
Silverman, Kaja and Farocki, Harun. 1998. Speaking About Godard. New York: New York University
Press.
Temple, Michael and Williams, James S. (eds.)
(2000). The Cinema alone: Essays on the Work of
Jean-Luc Godard 19852000. Amsterdam: Amsterdam University Press.
Almeida, Jane. Dziga Vertov Group. So Paulo:
witz, 2005. ISBN 85-98100-05-6.
Nicole Brenez, David Faroult, Michael Temple,
James E. Williams, Michael Witt (eds.) (2007).
Jean-Luc Godard: Documents. Paris: Centre
Georges Pompidou.
Godard Bibliography (via UC Berkeley)
Diane Stevenson, Godard and Bazin in the Andre
Bazin special issue, Jerey Crouse (ed.), Film International, Issue 30, Vol. 5, No. 6, 2007, pp. 3240.
Intxauspe, J.M. (2013). Film Socialisme: Quo
vadis Europa. hAUSnART, 3: 9499.
Lake, Steve and Griths, Paul, eds. (2007). Horizons Touched: the Music of ECM. Granta Books.
ISBN 978-1-86207-880-2. 2007.
Mller, Lars (2010). Windfall Light: The Visual Language of ECM. Lars Mller Publishers.
ISBN 978-3-03778-157-9 (English) & ISBN 9783-03778-197-5 (German).
Rainer Kern, Hans-Jrgen Linke and Wolfgang
Sandner (2010). Der Blaue Klang. Wolke Verlag.
ISBN 978-3-936000-83-2 (German).

11

External links

Jean-Luc Godard at the Internet Movie Database

Cinema=Godard=Cinema, a hub for academic information and discussion about Godard
Jean-Luc Godard at the Criterion Collection
Jean Luc Godard Biography at newwavelm.com
Jean-luc Godard Timeline

Detailed lmography of Jean-Luc Godard on

unifrance.org
Jean-Luc Godard at The Guardian Film
Jean-Luc Godard at The New York Times Movies
Jean-Luc Godard collected news and commentary at
The New York Times
Publications by and about Jean-Luc Godard in the
catalogue Helveticat of the Swiss National Library
Guardian interview (29 April 2005)
Video dialogin Frenchbetween Godard and the
French writer Stphane Zagdanski about Literature
and Cinema, November 2004

12

12

12
12.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

Text

Jean-Luc Godard Source: http://en.wikipedia.org/wiki/Jean-Luc_Godard?oldid=664697523 Contributors: AxelBoldt, Mav, Tarquin, Andre Engels, Danny, SJK, William Avery, Ben-Zin~enwiki, Camembert, R Lowry, Olivier, Trista, Jahsonic, GUllman, Liftarn, Gabbe,
Looxix~enwiki, Lupinoid, Sethmahoney, Mulad, Tpbradbury, Kaare, Carbuncle, Robbot, Gantoi, Naddy, Modulatum, TPK, Asparagus,
Josh Martin, DocWatson42, Jyril, Tom harrison, Levin, Chips Critic, Ruy Lopez, 1297, Phil Sandifer, Oneiros, Sam, D6, David Sneek, Discospinster, Rich Farmbrough, Kaisershatner, MockTurtle, El C, Kwamikagami, Jashiin, Kevin Myers, Rajah, Jumbuck, Alansohn, Sweeny,
Albrecht Conz, Philip Cross, Lectonar, Iddqd~enwiki, Wtmitchell, Grenavitar, Netkinetic, Mel Etitis, Woohookitty, Tonigonenstein, JeanLuc Col, GregorB, Marudubshinki, Sparkit, Buxtehude, Johnhpaulin, Moulinette, JIP, Dvyost, Rjwilmsi, Koavf, Vary, MarnetteD, FlaBot,
CDThieme, Ground Zero, Gareth E Kegg, Chobot, Bgwhite, Wasted Time R, YurikBot, RussBot, Heydude, Alexknowles, Gaius Cornelius, Neilbeach, Knolls, Onion Terror, Infamous30, Blim8183, BorgQueen, Superp, Tyrenius, Garion96, Evillights, Jeremy Butler, GrinBot~enwiki, Rehevkor, Attilios, SmackBot, Bobet, Phaldo, KocjoBot~enwiki, Alsandro, Betacommand, Chris the speller, TimBentley,
DStoykov, Beststudent, Colonies Chris, MercZ, Dumpendebat, OrphanBot, Actionist, TheKMan, Piltdown, Lpgeen, Weregerbil, Wizardman, Ceoil, Ohconfucius, SashatoBot, Nishkid64, Ser Amantio di Nicolao, Merchbow, Jaiwills, Neddyseagoon, E-Kartoel, Sharnak,
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