سینما: باستان‌شناسی فیلم و یادبود یک قرن (تصاویر گوینده)

Cinema is quite simply a unique book from one of the most influential film-makers in the history of cinema. Here, Jean-Luc Godard looks back on a century of film as well as his own work and career in the industry. Born with the twentieth century, cinema became not just the century's dominant art form but its best historian. Godard argues that - after the century of Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers - film and history are inextricably intertwined. Against this backdrop, Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. As the conversation develops, Godard expounds on his central concerns - how film can 'resurrect the past', the role of rhythm in film, and how cinema can be an 'art that thinks'. Cinema: the archaeology of film and the memory of a century is a dialogue between Godard and the celebrated cinphile Youssef Ishaghpour. Here Godard comes closest to defining a lifetime's obsession with cinema and cinema's lifelong obsession with history.

This dialog between the experimental film director Jean-Luc Godard and the art historian and cinephile Youssef Ishaghpour allows Godard to provide a partial exegesis of his difficult film Histoire(s) du cinéma. In its meander through the history of cinema, the conversation touches on philosophies of history, archeology, the Holocaust, Christianity and cinematography. The dialog is supplemented with Ishaghpour's essay on Godard's genealogy as a modern artist. Ishaghpour writes about the poetic in Godard's work and underlines Godard's insistence on an equality between image and text. Distributed in the US by Palgrave Macmillan. Annotation ©2005 Book News, Inc., Portland, OR

Library Journal

A groundbreaking critic and founding member of the French New Wave, Godard (A Bout de Souffle/Breathless; Alphaville; Weekend) is still making films and writing about them at nearly 75. He's also as independent and provocative as ever, as illustrated by this collaboration with Ishaghpour (film, Univ. Ren Descartes, France), which results in a spirited dialog between the men that ranges freely among such subjects as cinema, history, art, music, literature, and philosophy, concentrating in particular on multiple definitions of history and their implications for cinema and the status of cinema as an art. The saga of Godard's eight-part video series, Histoire(s) du Cin ma, a simultaneously public and private history, figures prominently in the discussion, offering an insider's view of the demands, rewards, and frustrations of filmmaking. The mutual familiarity and respect between Godard and Ishaghpour are obvious throughout; their conversation often achieves an intoxicating rhythm. Concluding with a brief essay by the latter on the former, this is a fascinating look at an iconic and controversial filmmaker. The subject matter and focus limit this book's suitability for public libraries, but it is highly recommended to academic libraries with film studies collections.-M. C. Duhig, Carnegie Lib. of Pittsburgh Copyright 2005 Reed Business Information.

Cinema -- Constellation And Classification -- Angle And Montage -- The Urgency Of The Present/the Redemption Of The Past -- History And Re-memorization -- How Video Made The History Of Cinema Possible -- Only Cinema Can Narrate Its Own History: Quotation And Montage -- Histoire(s) Du Cinema: Films And Books -- History And Archeology -- The History Of Love, Of The Eye, And Of The Gaze -- Hitchcock And The Power Of Cinema -- The Loss Of The Magic Of Cinema And The Nouvelle Vague -- Before And After Auschwitz -- What Can Cinema Do? -- Only Cinema Narrates Large-scale History By Narrating Its Own History -- In Cinema As In Christianity: Image And Resurrection -- Image And Montage -- Towards The Stars -- Jean-luc Godard, Cineaste Of Modern Life: The Poetic In The Historical. Jean-luc Godard & Youssef Ishaghpour ; Translated By John Howe. First Published In Book Form, 2000, By Editions Farrago. -- T.p. Verso. Includes Bibliographical References (p. 142-143). Translated From The French. An introduction and supplement to Godard's Les Histoire(s) du cinema: "Cinema is quite simply a unique book from one of the most influential film-makers in the history of cinema. Here, Jean-Luc Godard looks back on a century of film as well as his own work and career. Born with the twentieth century, cinema became not just the century's dominant art form but its best historian. Godard argues that - after Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers - film and history are inextricably intertwined. Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. He expounds on his central concerns - how film can "resurrect the past," the role of rhythm in film, and how cinema can be an "art that thinks." Here Godard comes closest to defining a lifetime's obsession with cinema and cinema's lifelong obsession with history." Viewing your Histoire(s) du cinéma one is put in the same situation as you, with your project, the "plan" you thought unachievable but achieved nevertheless, as in that Brecht poem.