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Library of Congress Cataloging in Publication Data Godard, Jean Luc, 1930- Godard on Godard. (A Da Capo paperback) Translation of Jean-Luc Godard. I. Moving-pictures-Addresses, essays, lectures. I. Title. [PNI994.G57513 1986) 791.43'0233'0924 86-1993 ISBN 0-306-80259-7 (pbk.) This Da Capo Press paperback edition of Godard on Godard is an unabridged republication of the edition published in New York and London in 1972, here supplemented with a new foreword by Annette Michelson Copyright © Editions Belfond, 1968 English language translation Copyright © 1972 by Martin Secker & Warburg Limited New foreword copyright © 1986 by Annette Michelson Published by Da Capo Press, Inc. A Subsidiary of Plenum Publishing Corporation 233 Spring Street, New York, N.Y. 10013 All Rights Reserved Manufactured in the United States of America
Foreword In the fields with which we are concerned, knowledge comes only in flashes. The text is the thunder rolling long afterward. -WALTER BENJAMIN Twenty years have passed since the completion of the last text in this volume, and we may well wish to examine their interest for us now, to ask why Godard's writings, almost alone among those of his contemporaries (those critics and film-makers of Les Cahiers du Cinema who were his first colleagues) retain their urgency for us. The answer is not far to seek. These essays, reviews, and manifestoes are marked, like others of their period, by the hlstoncal conditions of 'iheir elaboration: the retarded industrialization of post-war France; the radical crisis generated by the last of France's colonial wars in both Indo-China and Algeria; the pervasive malaise following upon that Caesarean operation which delivered the Fifth Republic and its Gaullist regime. They are, however, clearly singular in their deep sense of implication in those events, in their initiation of an intensive reflection upon the nature anc,i the problematic conditions of cinematic practice. This reflection, assumed and sustained over three decades by GOdard, as by no other European film-maker of his time, we may now read as central within a larger text: the theorization of the nature of representation in the era of late capitalism which animates the full range of discursive and artistic practice in our day. The field of this debate has been mapped, its strategies epitomized, in the work of Michel Foucault, who offered in The Order of Things his uniquely seminal reading of Velasquez' Las Meninas. This painting, long since cons ecrated by historical tradition, is now understood to articulate a relation of v
Page 5: Critical writings by Jean-Luc Godar
Page 9 and 10: Foreword system of industrial produ
Page 11 and 12: Foreword work (in both this film an
Page 13 and 14: Contents Introduction by Richard Ro
Page 15 and 16: Introduction by Richard Roud It is
Page 17 and 18: Introduction Later, in 1962, after
Page 19 and 20: Early Texts: 1950-1952
Page 21 and 22: I : Joseph Mankiewicz One day I wen
Page 23 and 24: Le Petit Soldat: Michel Subor and A
Page 25 and 26: Towards a Political Cinema shown in
Page 27 and 28: Les Carabiniers : the execution of
Page 29 and 30: Panic in the Streets are reconciled
Page 31 and 32: ... Anna Karina in Alphaville Stran
Page 33 and 34: Strangers on a Train consider Hitch
Page 35 and 36: Defence and Illustration of Classic
Page 37 and 38: Defence and Illustration of Classic
Page 39 and 40: Les Petites Filles Modeles Emma and
Page 41 and 42: Return to Criticism and First Short
Page 43 and 44: 12 : The Lieutenant Wore Skirts ; A
Page 45 and 46: The Lieutenant Wore Skirts : Sheree
Page 47 and 48: Montage my Fine Care touched in the
Page 49 and 50: Future, Present, Past : Magirarna t
Page 51 and 52: Hot Blood probably the worst presen
Page 53 and 54: Hot Blood through an individual, an
Page 55 and 56: Dictionary of French Film-makers If
Page 57 and 58:
The Wrong Man Even the most anodyne
Page 59 and 60:
The Wrong Man trying for a second t
Page 61 and 62:
The Wrong Man is false; or rather,
Page 63 and 64:
Sail-on jamais? to know how to wait
Page 65 and 66:
Hollywood or Bust and frame the cha
Page 67 and 68:
The True Story of Jesse James nonch
Page 69 and 70:
Forty Guns both clear and tangible.
Page 71 and 72:
Jean Renoir Gunshots shattering the
Page 73 and 74:
Biller Victory : Curt Jurgens and R
Page 75 and 76:
Struggle on Two Fronts, Arts and Ca
Page 77 and 78:
29 : The Killing This is the film o
Page 79 and 80:
Mizoguchi increasing a thousandfold
Page 81 and 82:
Le Temps des Oeufs Durs Joan Collin
Page 83 and 84:
Montparnasse 19 project, not withou
Page 85 and 86:
Bergmanorama t hirst: for Bergman,
Page 87 and 88:
Bergmanorama comes a medieval myste
Page 89 and 90:
L'Eau Vive so detailed that what it
Page 91 and 92:
. . . with Michel Piccoli in I.e Me
Page 93 and 94:
Summer with Monika avant-gardists o
Page 95 and 96:
The Pajama Game tions but pushes th
Page 97 and 98:
. . . The Pajama Game The Long Hot
Page 99 and 100:
Alexandre Astruc describing was per
Page 101 and 102:
Fran�ois Reichenbach tripod, and
Page 103 and 104:
Franr;ois Reichenbach starting to t
Page 105 and 106:
The vertical principle : Une Vie Un
Page 107 and 108:
Les Cousins But Les Cousins will al
Page 109 and 110:
B.B. of the Rhine like Lang, with F
Page 111 and 112:
Jeanne Allard in Le Bel Indifferent
Page 113 and 114:
The Year of A Bout de Souffle: Janu
Page 115 and 116:
55 : Pou",u qu'on ail l'lvresse Bef
Page 117 and 118:
Take Your Own Tours fours, a perfec
Page 119 and 120:
Take Your Own Tours Vive La France
Page 121 and 122:
Take Your Own Tours novel. They are
Page 123 and 124:
In the crossways of kisses The year
Page 125 and 126:
Man of the West Laramie, The Tin St
Page 127 and 128:
Bande apart Man of the West fantast
Page 129 and 130:
Le Vent se live Goddess. Precocity
Page 131 and 132:
Le Bel Age One thing I dislike abou
Page 133 and 134:
Les Rendez-vous du Diable and amiab
Page 135 and 136:
La Loi some that only Tintoretto co
Page 137 and 138:
Les Cousins characters, Chabrol's b
Page 139 and 140:
Les Motards Jean-Marc Thibault ough
Page 141 and 142:
Africa Speaks of the End and the Me
Page 143 and 144:
Hearts of the World: Lillian Gish a
Page 145 and 146:
II Time to Love and a Time to Die :
Page 147 and 148:
Boris Barnet of the film is not 'Of
Page 149 and 150:
Roberto Rossellini cinema is for, t
Page 151 and 152:
Une Simple Histoire Histoire resemb
Page 153 and 154:
Jean Renoir and Television own serv
Page 155 and 156:
The Perfect Furlough was simply thi
Page 157 and 158:
The Perfect Furlough montage of Oct
Page 159 and 160:
Tarawa Beachhead which is a little
Page 161 and 162:
... not to mention Orphee ? Orfe u
Page 163 and 164:
Une Femme est une Femme: Jean-Claud
Page 165 and 166:
Une Femme est une Femme And because
Page 167 and 168:
Une Femme est une Femme: Jean-Claud
Page 169 and 170:
Marginal Notes While Filming: Augus
Page 171 and 172:
Godard's televi#Q!u�pp�q.!�-'
Page 173 and 174:
Scene 7/2b in Le Petit So/dat Le Pe
Page 175 and 176:
Une Femme est une Femme becomes fas
Page 177 and 178:
Une Femme est une Femme Une Femme e
Page 179 and 180:
Une Femme est une Femme A King in N
Page 181 and 182:
Interview with Jean-Luc Godard able
Page 183 and 184:
. . . and with Belmondo in A 80ut d
Page 185 and 186:
Le Petit So/dat Interview with Jean
Page 187 and 188:
Interview with Jean-Luc Godard ther
Page 189 and 190:
Interview with Jean-Luc Godard can
Page 191 and 192:
In terview with Jean-Luc Godard Wit
Page 193 and 194:
In terview with Jean-Luc Godard Lik
Page 195 and 196:
Interview with Jean-Luc Godard didn
Page 197 and 198:
Vi>'re sa Vie : the death of Nana I
Page 199 and 200:
Interview with Jean-Luc Godard epis
Page 201 and 202:
In terview with Jean-Luc Godard ing
Page 203 and 204:
Interview with Jean-Luc Godard now
Page 205 and 206:
Catherine Ribero in Les Carabiniers
Page 207 and 208:
Les Carabiniers under Fire from thr
Page 209 and 210:
Jack Palance in Le Mepris Le Mepris
Page 211 and 212:
Dictionary of American Film-makers
Page 213 and 214:
Orphee /'ordre entered the studios
Page 215 and 216:
Alphaville : the City of Light Orph
Page 217 and 218:
Eddie Constantine and Anna Karina i
Page 219 and 220:
6. A Distant Trumpet (Raoul Walsh)
Page 221 and 222:
M ontparnasse-Levallois I got on ve
Page 223 and 224:
Pierrot my friend technique of cine
Page 225 and 226:
Pierro/ Ie Fou: Jean-Paul Belmondo
Page 227 and 228:
Let 's Talk about Pierrot Watching
Page 229 and 230:
... Pierrot Ie Fou Let's Talk about
Page 231 and 232:
Let 's Talk about PierrOl Godard: O
Page 233 and 234:
Let's Talk about Pierrot Of course
Page 235 and 236:
Let 's Talk about Pierrot Madame Ex
Page 237 and 238:
LeI 's Talk about Pierrot the cinem
Page 239 and 240:
Let 's Talk about Pierrot Godard: B
Page 241 and 242:
Let 's Talk about Pierrot and Italy
Page 243 and 244:
Thanks to Henri Langlois That was s
Page 245 and 246:
Thanks to Henri Langlois Thanks to
Page 247 and 248:
One Should Put Everything into a Fi
Page 249 and 250:
Deux au trois chases que je sais d'
Page 251 and 252:
La Chinoise That it is a child's ga
Page 253 and 254:
Commentary 2. 'epistolary fonn ...
Page 255 and 256:
Commentary is Stendhal, and the all
Page 257 and 258:
her open the car door), 'Everyone d
Page 259 and 260:
Commentary he had been toying since
Page 261 and 262:
Commentary A Bout de Souffle in the
Page 263 and 264:
Commentary to dismiss Satyajit Ray'
Page 265 and 266:
Commentary 4. 'homonymous society'
Page 267 and 268:
Commentary orders directed by Arild
Page 269 and 270:
Commentary \. 'Jean-Jacques Vital'
Page 271 and 272:
Commentary of him and weighted a st
Page 273 and 274:
Commentary 2. 'Claude Bernard-Auber
Page 275 and 276:
66: La Ligne de Mire Cahiers du Cin
Page 277 and 278:
Commentary Autant-Lara in 1947. God
Page 279 and 280:
Commentary I. 'Lamiel': The heroine
Page 281 and 282:
Commentary L'Or du Cristobal (1939)
Page 283 and 284:
Commenta, to place one foot in fron
Page 285 and 286:
for the brilliant editing, perfectl
Page 287 and 288:
106: Studying Frans:ois L'A vant-Sc
Page 289 and 290:
II. 'Bertolucci . . . Shell' : Bern
Page 291 and 292:
Index of Names ( Figures refer not
Page 293 and 294:
Index of Pi ScudCJy, Mile de, '2, '
Page 295 and 296:
TIw EmPNS. Y""g Xwel F,I ( Yoklhl)
Page 297 and 298:
MOllrir 01 Mildrid [To DI, III Mild
Page 299 and 300:
TIJ,sl [71I1,sl/ThtH SI"",.e Lo ...
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