Jean-Luc Godard

* 1960 *[[Breathless (1960 film)|Breathless]]*
* 1961 *[[A Woman Is a Woman]]*
* 1962 *[[My Life to Live]]*
* 1963 *[[The Little Soldier]]*
* 1963 *[[The Carabineers]]*
* 1963 *[[Contempt (film)|Contempt]]*
* 1964 *[[Bande à part (film)|Band of Outsiders]]*
* 1964 *[[A Married Woman]]*
* 1965 *[[Alphaville (film)|Alphaville]]*
* 1965 *[[Pierrot le Fou]]*
* 1966 *[[Masculin Féminin]]*
* 1966 *[[Made in U.S.A. (1966 film)|Made in U.S.A.]]*
* 1967 *[[Two or Three Things I Know About Her]]*
* 1967 *[[La Chinoise]]*
* 1967 *[[Weekend (1967 film)|Week-end]]*
* 1969 *[[Joy of Learning]]*
* 1970 *[[Wind from the East]]*
* 1971 *Struggle in Italy*
* 1971 *Vladimir et Rosa*
* 1972 *[[Tout va bien]]*
* 1975 *[[Number Two (film)|Number Two]]*
* 1976/1978 *How's It Going?*
* 1980 *[[Every Man for Himself (1980 film)|Every Man for Himself]]*
* 1982 *[[Passion (1982 film)|Passion]]*
* 1983 *[[First Name: Carmen]]*
* 1985 *[[Hail Mary (film)|Hail Mary]]*
* 1985 *[[Détective (1985 film)|Detective]]*
* 1987 *[[King Lear (1987 film)|King Lear]]*
* 1987 *[[Keep Your Right Up]]*
* 1990 *[[Nouvelle Vague (film)|New Wave]]*
* 1991 *[[Germany Year 90 Nine Zero]]*
* 1993 *[[Hélas pour moi|Oh Woe Is Me]]*
* 1996 *[[For Ever Mozart]]*
* 2001 *[[In Praise of Love (film)|In Praise of Love]]*
* 2004 *[[Notre musique]]*
* 2010 *[[Film Socialisme]]*
* 2014 *[[Goodbye to Language]]*
* 2018 *[[The Image Book]]* 

.  Jean-Luc Godard UK UK : / ˈɡɒdɑːFrench: [ ʒɑ̃ lyk ɡɔdaʁ ]r / GOD -ar, US: / ɡ oʊ ˈd ɑːr / goh-DAR;  ;  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)

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

 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]
thumb|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
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. 

*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." Godard made the film during the planning phase for *Pierrot le Fou* (1965).

*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.

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 .   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." 

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. 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* 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.&#x5B;*nbsp;needed*&#x5D;

Godard was known for his "highly political voice", and regularly featured political content in his films. 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. 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. 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*.
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*.

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. 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."

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". 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.

For example, *Breathless* 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.

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".

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."

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.

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.

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.

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.

In 2015 J. Hoberman reported that Godard was working on a new film. Initially titled *Tentative de bleu*, 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. 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.

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." 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  yes, my moviemaker life  by doing two scripts...After, I will say, 'Goodbye, cinema.'"

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. 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.

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". 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 **. 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.

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

* *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)
Òtù:Pages with unreviewed translations