Jump to content

Jean-Luc Godard

Shí Wikipedia, njikotá édémédé nke onyobulạ
Jean-Luc Godard
ụdịekerenwoke Dezie
mba o sịFrance, Switzerland Dezie
aha n'asụsụ obodoJean-Luc Godard Dezie
Aha enyereJean-Luc Dezie
aha ezinụlọ yaGodard Dezie
aha pseudonymHans Lucas Dezie
ụbọchị ọmụmụ ya3 Disemba 1930 Dezie
Ebe ọmụmụ7th arrondissement of Paris Dezie
Ụbọchị ọnwụ ya13 Septemba 2022 Dezie
Ebe ọ nwụrụRolle Dezie
Ụdị ọnwụeuthanasia, assisted suicide Dezie
ŃnàPaul Godard Dezie
ŃnéOdile Monod Dezie
Dị/nwunyeAnne Wiazemsky, Anne-Marie Miéville, Anna Karina Dezie
IkwuMaximilien Vox Dezie
Asụsụ obodoFrench language Dezie
asụsụ ọ na-asụ, na-ede ma ọ bụ were na-ebinye akaFrench language, Bekee Dezie
Ọrụ ọ na-arụonye nhazi ndu ihe nkiri Dezie
onye were ọrụCahiers du cinéma Dezie
ebe agụmakwụkwọUniversity of Paris Dezie
oge ọrụ ya (mmalite)1954 Dezie
Oge ọrụ ya (njedebe)2022 Dezie
so naDocumenta 6, documenta 8, documenta x Dezie
ihe nkiriJean-Luc Godard filmography Dezie
Ọrụ ama amaBreathless, Contempt, Pierrot le Fou, Every Man for Himself, Le Petit Soldat Dezie
IjeFrench New Wave Dezie
Onye òtù nkeDziga Vertov Group Dezie
ụdịFrench New Wave Dezie
kọwara na URLhttps://www.swissfilms.ch/de/film_search/filmdetails/-/id_person/1821288786D44E7BBF4E304ABB5BB651 Dezie
nọchitere anya yaElectronic Arts Intermix Dezie
onye nnọchite anya nwebiisinkaJean-Luc Godard, reproduction right not represented by CISAC member Dezie
Nwere ọrụ na mkpokọtaMuseo Nacional Centro de Arte Reina Sofía, Museum of Modern Art, Harvard Film Archive, National museum of modern art Dezie
ụdị metụtaraCategory:Films directed by Jean-Luc Godard Dezie
ikike nwebiisinka dị ka onye okikeỌrụ nwebiisinka chekwara Dezie
akwụkwọ faịlụ naSAPA Foundation, Swiss Archive of the Performing Arts Dezie

. [29] [30]Jean-Luc Godard UK UK : / ˈɡɒdɑːFrench: [ ʒɑ̃ lyk ɡɔdaʁ ]r / GOD -ar, US: / ɡ oʊ ˈd ɑːr / goh-DAR;  </link>;  Ọnwa Iri na ebe 3, 1930 – 13 September 2022) bụ onye ntụzi ihe nkiri Franco-Swiss, onye na-ese ihe na onye nkatọ ihe nkiri.  Ọ ekiri onye a ma dị ka onye ọsụ ụzọ nke ihe nkiri French New Wave nke 1960, [1] n'ụdị ndị na-eme ihe nkiri dị ka François Truffaut, Agnès Varda, Éric Rohmer na Jacques Demy .  O doro anya na ọ bụ onye na-ese ihe nkiri French kacha emetụta n'oge agha agha.  [1] Dị ka AllMovie si kwuo, ọrụ ya "gbanwee ụdị ihe nkiri ahụ" site na ngwa ya na na-eme ihe, ịga n'ihu, ọrụ, na ọrụ .  [1] Ihe nkiri ya kacha ewu ewu Breathless (1960), Vivre sa vie (1962), Contempt (1963), Band of Outsiders (1964), Alphaville (1965), Pierrot le Fou (1965), Masculin Féminin (1966)  ), izu ụka (1967).  ) na Goodbye to Language (2014)

[31]Godard ugboro atọ atọ, ndị na-eme ihe nkiri Anna Karina na Anne Wiazemsky, bụ ndị abụọ na-eme ihe nkiri n'ọtụtụ fim ya, na mgbe e gosiri na onye ya na-arụkọ ọrụ ogologo oge Anne-Marie  Miéville.  [1] gba ya na Karina - nke egwu ihe nkiri ndị a ma ama dị ka Vivre sa vie (1962), Bande à part (1964) na Pierrot le Fou (1965) - ka a na-akpọ "nke a na-ekwu"  na ọ bụ ọrụ ozi emetụta na ihe mere eme nke sinima" Magazin ihe nkiri .  [2] Na mbụ aka Sight & Sound nke 2002, Godard nke ụmụ atọ n'ime ndị isi isi iri iri kacha elu nke oge niile.  [3] A na-ekwu na ọ "mepụtara otu n'ime nnukwu ozu nke nchọta dị oke egwu nke onye na-ese ihe nkiri egwu etiti akpan afụ nke abụọ."  [12] Ụbọchị nke abụrụla ihe dị n'etiti na ndị na-eme mkpọsa ma "na-agbagha bu ihie na-eso na okwu nkatọ ihe nkiri."  [13] Na 2010, e nyere Godard ọmụmụ ugwu Academy

[32] [33]A Jean-Luc Godard na 3 Disemba 1930 [1] na 7th arrondissement nke Paris, [16] nwa Odile ( née Monod) na Paul Godard, onye dibịa Switzerland.  [17] Nne na nna ya bara sitere na sitere na Protestant nke Franco-Swiss, nne ya bụ ada Julien Monod, onye onye Banque Paribas .  Ọ bụ nwa nke mba nke ndị Adolphe Monod .  Ndị ikwu ndị ọzọ nọ n'ụdị nne ya egwu onye na-ede ụda Jacques-Louis Monod, onye na-ahụ maka ihe okike Théodore Monod, na pastọ Frédéric Monod .  [2] [3] N'ụdị nna ya, ọ bụ nwa nwanne nke mbụ onye bụbu Prime Minister na mgbe e ịhụ President nke Peru Pedro Pablo Kuczynski .  [4] Afọ anọ ka a mụsịrị Jean-Luc, nna ya kpọgara ya Switzerland.  Na mkpa nke Agha nke amaghị, Godard nọ na France, ma mụrụ Switzerland na ihe isi ike.  [21] Ọpọ ọtụtụ n'ime agha na Switzerland, ọ bụ ebe na ebe ya mere njem na ala nna ya n' nti French nke Ọdọ Mmiri Geneva .  Godard gara ụlọ akwụkwọ na Nyon, Switzerland.  [5] [6]

Anna Karina, having rejected a role in Breathless, appeared in the next film shot by Godard, Le petit soldat (The Little Soldier), which concerned France's war in Algeria.

Ọrụ mbụ na Anna Karina[dezie | dezie ebe o si]

Ihe nkiri ahụ bụ ihe ịga nke ọma na-ewu ewu ma duga na Columbia Pictures na-enye ya nkwekọrịta ebe a ga-enye ya $ 100,000 iji mee ihe nkiri, na njikwa nkà zuru oke. [34]

Une femme mariée (A Married Woman, 1964) followed Band of Outsiders. It was a slow, deliberate, toned-down black-and-white picture without a real story. The film was shot in four weeks and was "an explicitly and stringently modernist film". It showed Godard's "engagement with the most advanced thinking of the day, as expressed in the work of Claude Lévi-Strauss and Roland Barthes" and its fragmentation and abstraction reflected also "his loss of faith in the familiar Hollywood styles."[35] Godard made the film during the planning phase for Pierrot le Fou (1965).[36]

Masculin Féminin (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 Godard's cinema is sometimes thought to depict a wholly masculine point of view, Phillip John Usher has demonstrated how the film, by the way it connects images and disparate events, seems to blur gender lines.[37]

Godard sochiri ya na Made in USA (1966), isi mmalite ihe bụ Richard Stark 's The Jugger . Ihe egwu egwu New Wave mara mma, ihe nkiri American Noir sitere n'ike mmụọ nsọ. Anna Karina na-eme ihe nkiri dị ka onye na-emegide dike na-achọ onye hụrụ ya n'anya gburu na ihe nkiri ahụ gụnyere cameo site na Marianne Faithfull . [38] [39] Otu afọ mgbe e mesịrị , ihe abụọ ma ọ bụ atọ m maara banyere ya bịara (1967), bụ nke Marina Vlady gosipụtara nwanyị na-ebi ndụ abụọ dị ka nwunye na-akwa iko, nke a na-ewere dị ka "otu n'ime ihe ndị kacha rụzuru na ime fim." [40]

That same year, Godard made a more colourful and political film, 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 flaws of the over-consuming bourgeoisie. The film contains an eight-minute tracking shot of the couple stuck in an unremitting traffic jam as they leave the city, cited as a technique Godard used to deconstruct bourgeois trends.[41] 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 EndÀtụ:'s enigmatic and audacious end title sequence, which reads "End of Cinema", appropriately marked an end to the narrative and cinematic period in Godard's filmmaking career.[42]Àtụ:Page needed[<span title="This citation requires a reference to the specific page or range of pages in which the material appears. (November 2021)">page<span typeof="mw:Entity"> </span>needed</span>]

Godard was known for his "highly political voice", and regularly featured political content in his films.[43][44] One of his earliest features, Le petit soldat, which dealt with the Algerian War of Independence, was notable for its attempt to present the complexity of the dispute; the film was perceived as equivocating and as drawing a "moral equivalence" between the French forces and the National Liberation Front.[45] Along these lines, Les Carabiniers presents a fictional war that is initially romanticised in the way its characters approach their service, but becomes a stiff anti-war metonym.[46] In addition to the international conflicts to which Godard sought an artistic response, he was also very concerned with the social problems in France. The earliest and best example of this is Karina's potent portrayal of a prostitute in Vivre sa vie.[47][48][49] In 1960s Paris, the political milieu was not overwhelmed by one specific movement. There was, however, a distinct post-war climate shaped by various international conflicts such as colonialism in North Africa and Southeast Asia. Godard's Marxist disposition did not become abundantly explicit until La Chinoise and Week End, but is evident in several films—namely Pierrot and Une femme mariée.[47][50]

Godard was accused by some of harbouring anti-Semitic views: in 2010, in the lead-up to the presentation of Godard's honorary Oscar, a prominent article in The New York Times by Michael Cieply drew attention to the idea, which had been circulating through the 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 Brody's 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. That's why the Jewish people are accursed."[52]

Immediately after Cieply's article was published, Brody made a clear point of criticising the "extremely selective and narrow use" of passages in his book, and noted that Godard's work 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. Godard's views become more complex regarding the State of Israel. In 1970, Godard travelled to the Middle East to make a pro-Palestinian film he did not complete and whose footage eventually became part of the 1976 film Ici et ailleurs. In this film, Godard seems to view the Palestinians' cause as one of many worldwide Leftist revolutionary movements. Elsewhere, Godard explicitly identified himself as an anti-Zionist but denied the accusations of anti-Semitism.[54]

For example, BreathlessÀtụ:'s elliptical editing, which denies the viewer a fluid 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 work's content. 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.[47]

In an essay on Godard, philosopher and aesthetics scholar Jacques Rancière states, "When in Pierrot le fou, 1965, a film without a clear political message, Belmondo played on the word 'scandal' and the 'freedom' that the Scandal girdle supposedly offered women, the context of a Marxist critique of commodification, of pop art derision at consumerism, and of a feminist denunciation of women's 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, romanticising the Marxist rhetoric, rather than being solely tools of education.

Une femme mariée is also structured around Marx's concept of commodity fetishism. Godard once said that it is "a film 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 efforts are overtly characteristic of Marx, who in his Economic and Philosophical Manuscripts of 1844 gives one of his most nuanced elaborations, analysing how the worker is alienated from his product, the object of his productive activity. Georges Sadoul, in his short rumination on the film, describes it as a "sociological study of the alienation of the modern woman".[55]

Inspired by the May 68 upheaval, Godard, alongside François Truffaut, led protests that shut down the 1968 Cannes Film Festival in solidarity with the students and workers. Godard stated there was not a single film showing at the festival that represented their causes. "Not one, whether by Milos [Forman], myself, [Roman] Polanski or François. There are none. We're behind the times."[56]

Amid the upheavals of the late 1960s, Godard became passionate about "making political films politically." Though many of his films from 1968 to 1972 are feature-length films, they are low-budget and challenge the notion of what a film can be. In addition to abandoning mainstream filmmaking, Godard also tried to escape the cult of personality that had formed around him. He worked anonymously in collaboration with other filmmakers, most notably Jean-Pierre Gorin, with whom he formed the Dziga-Vertov cinema collective. During this period Godard made films in England, Italy, Czechoslovakia, Palestine, and the U.S., as well as France. He and Gorin toured with their work, attempting to create discussion, mainly on college campuses. This period came to a climax with the big-budget production Tout Va Bien, which starred Yves Montand and Jane Fonda. Owing to a motorcycle accident that severely incapacitated Godard, Gorin ended up directing this most celebrated of their work together almost single-handedly. As a companion piece to Tout va bien, the pair made Letter to Jane, a 50-minute "examination of a still" showing Jane Fonda visiting with the Viet Cong during the Vietnam War. The film is a deconstruction of Western imperialist ideology. This was the last film that Godard and Gorin made together.[57]

After the events of May 1968, when the city of Paris saw a total upheaval in response to the "authoritarian de Gaulle", and Godard's professional objective was reconsidered, he began to collaborate with like-minded individuals in the filmmaking arena. His most notable collaborator was Jean-Pierre Gorin, a Maoist student of Louis Althusser, Michel Foucault, and Jacques Lacan, who later became a professor of Film Studies at the University of California at San Diego, with a passion for cinema that attracted Godard's attention.[57]

Between 1968 and 1973, Godard and Gorin collaborated to make a total of five films with strong Maoist messages. The most prominent film from the collaboration was Tout Va Bien (1972). The film starred Jane Fonda, who was, at the time, the wife of French filmmaker Roger Vadim. Fonda was at the height of her acting career, having won an Academy Award for her performance in Klute (1971), and has gained notoriety as a left-wing anti-war activist. The male lead was the legendary French singer and actor Yves Montand, who had appeared in prestigious films by Georges Clouzot, Alain Résnais, Sacha Guitry, Vincente Minelli, George Cukor, and Costa-Gavras.[57]

Towards the end of this period of his life, Godard began to feel disappointed with his Maoist ideals and was abandoned by his wife at the time, Anne Wiazemsky. In this context, according to biographer Antoine de Baecque, Godard attempted suicide on two occasions.[58]

In 2015 J. Hoberman reported that Godard was working on a new film.[59] Initially titled Tentative de bleu,[60] in December 2016 Wild Bunch co-chief Vincent Maraval stated that Godard had been shooting Le livre d'image (The Image Book) for almost two years "in various Arab countries, including Tunisia" and that it is an examination of the modern Arab World. Le livre d'image was first shown in November 2018.[61][47] On 4 December 2019, an art installation piece created by Godard opened at the Fondazione Prada in Milan. Titled Le Studio d'Orphée, the installation is a recreated workspace and includes editing equipment, furniture, and other materials used by Godard in post-production.[62]

In 2020, Godard told Les Inrockuptibles that his new film would be about a Yellow vest protestor, and indicated that along with archival footage "there will also be a shoot. I don't know if I will find what are called actors...I would like to film the people we see on news channels but by plunging them into a situation where documentary and fiction come together."[63] In March 2021 he said that he was working on two new films during a virtual interview at the International Film Festival of Kerala. Godard stated "I'm finishing my movie life Àtụ:Emdash yes, my moviemaker life Àtụ:Emdash by doing two scripts...After, I will say, 'Goodbye, cinema.Àtụ:'"[64]

In July 2021, cinematographer and long time collaborator Fabrice Aragno said that work on the films was going slowly and Godard was more focused on "books, on the ideas of the film, and less in the making." Godard suggested making a film like Chris Marker's La Jetée to "come back to his origin." Much of the film would be shot on 35mm, 16mm and 8mm film, but the expense of celluloid film stock and the COVID-19 pandemic stalled production. Aragno expected to shoot test footage that fall. He added that the second film was for the Arte channel in France.[65] The first of the two films, a 20-minute short titled Trailer of the Film That Will Never Exist: Phony Wars, premiered at the 2023 Cannes Film Festival, in collaboration with St. Laurent. The second, Scenario, was left unfinished at the time of Godard's death, and will be finished by Aragno and Jean-Paul Battagia.[66]

Agnes Varda's 2017 documentary Faces Places culminates with Varda and co-director JR knocking on Godard's front door in Rolle for an interview. Godard agreed to the meeting but he "stands them up".[67] His nephew and assistant Paul Grivas directed the 2018 documentary Film Catastrophe, which included behind-the-scenes footage, shot on the Costa Concordia cruise ship by Grivas during the making of Film Socialism, of Godard working with actors and directing the film. Godard participated in the 2022 documentary Àtụ:Ill. Director Mitra Farahani initiated an email exchange between Godard and Iranian filmmaker Ebrahim Golestan, with emailed text letters from Golestan and "videos, images, and aphorism" responses from Godard.[68]

Godard had a lasting friendship with Manfred Eicher, founder and head of the German music label ECM Records. The label released the soundtracks of Godard's Nouvelle Vague (ECM NewSeries 1600–01) and Histoire(s) du cinéma (ECM NewSeries 1706). This collaboration expanded over the years, leading to Godard's granting ECM permission to use stills from his films for album covers, while Eicher took over the musical direction of Godard films such as Allemagne 90 neuf zéro, Hélas Pour Moi, JLG, and For Ever Mozart. Tracks from ECM records have been used in his films; for example, the soundtrack for In Praise of Love uses Ketil Bjørnstad and David Darling's album Epigraphs extensively. Godard also released on the label a collection of shorts he made with Anne-Marie Miéville called Four Short Films (ECM 5001).

Collaboration with ECM Records[dezie | dezie ebe o si]

  • Voci, works of Luciano Berio played by Kim Kashkashian (ECM 1735)
  • Words of The Angel, by Trio Mediaeval (ECM 1753)
  • Morimur, by Christoph Poppen & The Hilliard Ensemble (ECM 1765)
  • Songs of Debussy and Mozart, by Juliane Banse & András Schiff (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)
  1. Film: 50 years of Jean‑Luc Godard's Breathless (5 June 2010).
  2. Une femme est une femme. Berlinale.
  3. 3.00 3.01 3.02 3.03 3.04 3.05 3.06 3.07 3.08 3.09 3.10 15 Essential Jean-Luc Goddard Films. Taste of Cinema (20 January 2016).
  4. Ebert, Roger. Le Petit Soldat movie review & film summary (1960) | Roger Ebert.
  5. Ebert, Roger (29 October 1968). Les Carabiniers (en).
  6. The New York Times movie review by Bosley Crowther from 19 December 1964
  7. Abele, Robert. "Review: Jean-Luc Godard coolly dissects modern bourgeois life in the digitally restored 'Une Femme Mariée'", 15 April 2016. (in en-US)
  8. Scott, A. O. (8 January 2009). Godard's '60s Policier, Set in Atlantic City, France. The New York Times.
  9. Dargis, Manohla (17 November 2006). Two or Three Things I Know About Her .... The New York Times.
  10. Hoberman, J.. "A Godard Riff That Adapts Rousseau's Treatise on Education", 27 July 2017.
  11. Wills 2000, p. 146.
  12. "Jean-Luc Godard: Visionary director's life and films in pictures", BBC News, 13 September 2022.
  13. Vladimir Et Rosa. Viennale.
  14. Wills 2000, p. 147.
  15. Comment Ça Va (How's It Going) Jean Luc Godard, 1976. Duke.edu.
  16. Festival de Cannes: Sauve qui peut (la vie). festival-cannes.com.
  17. Festival de Cannes: Passion. festival-cannes.com.
  18. 18.0 18.1 Wills 2000, p. 152.
  19. Wills 2000, p. 153–154.
  20. Buache, Freddy (1998). in Âge d'homme & Histoire et théorie du cinéma: Le cinéma suisse. L'Age d'Homme. ISBN 978-2-8251-1012-6. 
  21. Festival de Cannes: Nouvelle Vague. festival-cannes.com.
  22. "Jean-Luc Goddard, film-maker, 1930–2022", 13 September 2022.
  23. Fieschi-Vivet, Laeticia (2000). The Cinema Alone: Essays on the Work of Jean-Luc Godard, 1985–2000. Amsterdam University Press. ISBN 9789053564561. 
  24. For Ever Mozart Review by Jonathan Rosenbaum)
  25. Festival de Cannes: In Praise of Love. festival-cannes.com.
  26. Festival de Cannes: Notre musique. festival-cannes.com.
  27. Àtụ:Cite magazine
  28. Le Livre d'Image (Image Book). Cannes Film Festival. Retrieved on 30 April 2018.
  29. Kehr. "Jean-Luc Godard, 91, Is Dead; Bold Director Shaped French New Wave", The New York Times, 13 September 2022. Retrieved on 22 September 2022. (in en-US)
  30. 'Godard shattered cinema': Martin Scorsese, Mike Leigh, Abel Ferrara, Claire Denis and more pay tribute (en). The Guardian (14 September 2022). Retrieved on 22 September 2022.
  31. Freeman. "Godard Companion: Director Will Not Travel to Oscars for a 'Bit of Metal' | The New York Observer", The New York Observer. Retrieved on 6 February 2012.
  32. Rascouet (13 September 2022). Legendary French New Wave director Jean-Luc Godard dead at 91. Fortune. Retrieved on 15 September 2022.
  33. Kehr (13 September 2022). Jean-Luc Godard, 91, Is Dead; Bold Director Shaped French New Wave. The New York Times. Retrieved on 15 September 2022.
  34. Archer. "France's Far Out Filmmaker", The New York Times, 27 September 1964, p. X11.
  35. Brody 2008, pp. 190–191.
  36. Brody 2008, p. 239.
  37. Usher (2009). "De sexe incertain: Masculin Féminin de Godard". French Forum 34 (2): 97–112. DOI:10.1353/frf.0.0089. ISSN 1534-1836. 
  38. Made in U.S.A. Box Office Mojo. Retrieved on 13 September 2022.
  39. Movie Review: Made in U.S.A.. The New York Times (28 September 1967). Retrieved on 23 May 2011.
  40. Taubin (21 July 2009). 2 or 3 Things I Know About Her: The Whole and Its Parts. The Criterion Collection.
  41. Morrey 2005, p. 72.
  42. Morrey 2005.
  43. Jean-Luc Godard: Giant who left audience 'Breathless' with highly political voice. The New Indian Express.
  44. (2011) The New York Times Guide to Essential Knowledge. St. Martin's Publishing Group. ISBN 9781429950855. 
  45. Elliott (21 January 2020). Le petit soldat: The Awful Truth. Criterion Collection. Retrieved on 15 September 2022.
  46. Les Carabiniers. Roger Ebert.com. Retrieved on 15 September 2022.
  47. 47.0 47.1 47.2 47.3 Godard, Jean-Luc. TheFreeDictionary.com. Retrieved on 13 September 2022.
  48. Vivre Sa Vie. Box Office Mojo. Retrieved on 13 September 2022.
  49. "Vivre sa Vie" – The Prostitute As A Protagonist. Byarcadia (13 August 2021). Retrieved on 15 September 2022.
  50. Pioneer of French New Wave cinema Jean-Luc Godard dies at 91. Cinema Express. Retrieved on 15 September 2022.
  51. Michael Cieply. "An Honorary Oscar Revives a Controversy", The New York Times, 1 November 2010. Retrieved on 27 January 2011.
  52. Tugend. "Is Jean-Luc Godard an anti-Semite?", The Jewish Journal, 6 October 2010. Retrieved on 9 May 2012.
  53. Richard Brody (2 November 2010). Jean-Luc Godard: The Oscar Question. The Front Row. Archived from the original on 6 December 2010. Retrieved on 27 January 2011.
  54. Kyle Buchanan. "Jean-Luc Godard Says Honorary Oscar Meant 'Nothing' to Him", Vulture, 15 November 2010. Retrieved on 9 May 2012.
  55. Sadoul (1972). Dictionary of Films (in en). University of California Press. ISBN 978-0-520-02152-5. 
  56. Wise. "Cannes 1968: The Year Jean-Luc Godard and François Truffaut Led Protests That Shut Down The Festival", Deadline, 18 May 2018. Retrieved on 13 November 2020. (in en-US)
  57. 57.0 57.1 57.2 Brody 2008.
  58. Fresko (5 June 2018). Revolutionary Cinematic Suicide, Godard+Gorin: Five Films, 1968–1971. The Brooklyn Rail. Archived from the original on 26 October 2020. Retrieved on 29 November 2020.
  59. Hoberman. "Brother From Another Planet", The Nation, 24 February 2015. Retrieved on 1 March 2015.
  60. Ciak News 295: cos'è il cinema (it). Radiotelevisione svizzera (5 September 2015). Archived from the original on 22 November 2018. Retrieved on 26 October 2016.
  61. Goodfellow (27 December 2016). New Jean-Luc Godard, Omar Sy films on 2017 Wild Bunch slate. Screen Daily. Archived from the original on 31 December 2016. Retrieved on 1 January 2017.
  62. Woodward (4 December 2019). Why New Wave Auteur Jean-Luc Godard Has Recreated His Studio in Milan. AnOther Publishing Ltd.. Archived from the original on 5 December 2019. Retrieved on 7 December 2019.
  63. Deruisseau. "On a parlé des Gilets jaunes, de collapsologie et de psychanalyse avec Jean-Luc Godard", Les Inrockuptibles, 17 July 2020. Retrieved on 24 September 2022.
  64. Jean-Luc Godard in conversation with C S Venkiteswaran 25th IFFK. International Film Festival of Kerala (YouTube) (2 March 2021). Retrieved on 24 September 2022.
  65. Thorne. "Frequent Jean-Luc Godard Collaborator Fabrice Aragno on His Feature Debut and Making Godard's 'Final Gesture'", Variety, 9 July 2021. Retrieved on 24 September 2022.
  66. Kohn. "HBO's 'The Idol' Controversy Suggests The Weeknd Has an Auteur Problem (Column)", Indiewire, 4 March 2023. Retrieved on 4 March 2023.
  67. Kohn. "Agnès Varda's Daughter on Her Mother's Death and the Future of Her Archive", Indiewire, September 5, 2019.
  68. Vivarelli. "Jean-Luc Godard Non-Conventional Documentary 'See You Friday Robinson' Set For Festival Circuit (EXCLUSIVE)", Variety, August 5, 2021. Retrieved on September 25, 2022.