Jean-Luc Godard’s Political Filmmaking
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Beschreibung
This book offers an examination of the political dimensions of a number of Jean-Luc Godard’s films from the 1960s to the present. The author seeks to dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard’s investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director’s oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard’s work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard’s ongoing inquiry on the role filmmakers can have in progressive political engagement.
Dispels the myth that Jean Luc Godard's work ceased to be concerned with politics after the 1970s
Investigates Godard's political filmmaking in the context of Thirdworldism and anti-imperialism
Highlights Godard’s on-going exploration on the stakes of aesthetic-political representation
Engages with Godard's controversial juxtaposition between the Shoah and the Nakba
Dispels the myth that Jean Luc Godard's work ceased to be concerned with politics after the 1970s Investigates Godard's political filmmaking in the context of Thirdworldism and anti-imperialism Highlights Godard’s on-going exploration on the stakes of aesthetic-political representation Engages with Godard's controversial juxtaposition between the Shoah and the Nakba
Autor*in
Irmgard Emmelhainz
Themen in »Jean-Luc Godard’s Political Filmmaking«
Militant cinema Israel-Palestine Thirdworldism Representation Godard Political films French cinema political filmmaking political cinema political directors militant filmmaking Dziga Vertov aesthetic-political dialectical materialist dialectical image
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“In this wide-ranging and incisive study, Irmgard Emmelhainz situates Jean-Luc Godard’s output—both his feature films and lesser known audiovisual pamphlets and essays—within the history of materialist aesthetics. Her theoretically sophisticated examination of his oeuvre in this perspective underpins a compelling retrieval of him as a fundamentally political artist and offers an enormously rich contribution to how we think about his work.” (Michael Witt, University of Roehampton, UK)
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