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GODARD A SEASON IN HELL ICY POETRY
actors Alphaville Antoine Antoine Doinel audience Baisers volés Bazin bourgeois bout de soufﬂe Cahiers du Cinéma camera Céline Chabrol characters Charles Chinoise Christine cinema concrete critics deﬁne dialectic difﬁcult Dziga-Vertov ﬁlms essay esthetic existential explains Femme mariée ﬁction ﬁfties ﬁgure ﬁlm ﬁlmmaker ﬁnally ﬁnd ﬁnished ﬁrst ﬁrst ﬁlm ﬁts ﬁve French Gai Savoir genre ﬁlms Godard and Gorin Godard’s ﬁlms Hélène important intellectual Jean-Pierre Léaud Jules et Jim Karina L’Amour fou L’Enfant sauvage La Chinoise La Nuit américaine La Peau douce language logic mise-en-scène montage moral narrative narrator never novel Nuit américaine Paris nous appartient pianiste Pierrot le fou play political Quatre Cents Coups reality reﬂect relationship Religieuse Rivette Rivette’s Rohmer role says scene screen sense sequence shooting shot signiﬁcance Sirène du Mississippi sound soundtrack speciﬁc story structure theory tion Tirez Truf Truffaut Truffaut’s ﬁlms Vivre sa vie wanted Wave woman women
Page 15 - I mean a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel.
Page 16 - That it implies, consequently, both a more active mental attitude on the part of the spectator and a more positive contribution on his part to the action in progress. While analytical montage only calls for him to follow his guide, to let his attention follow along smoothly with that of the director who will choose what he should see, here he is called upon to exercise at least a minimum of personal choice.
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