Jean-Luc Godard
Jean-Luc Godard | |
---|---|
![]() Godard in 1968 | |
Born | Paris, France | 3 December 1930
Died | 13 September 2022 Rolle, Switzerland | (aged 91)
Citizenship |
|
Occupations |
|
Years active | 1950–2022 |
Movement | French New Wave |
Spouses | |
Partner | Anne-Marie Miéville (1978–2022; his death) |
Relatives |
|
Signature | |
![]() |
Jean-Luc Godard (UK: /ˈɡɒdɑːr/ GOD-ar, US: /ɡoʊˈdɑːr/ goh-DAR; French: [ʒɑ̃ lyk ɡɔdaʁ]; 3 December 1930 – 13 September 2022) was a French and Swiss film director, screenwriter, and film critic. He rose to prominence as a pioneer of the French New Wave film movement of the 1960s,[1] alongside such filmmakers as François Truffaut, Agnès Varda, Éric Rohmer and Jacques Demy. He was arguably the most influential French filmmaker of the post-war era.[2] According to AllMovie, his work "revolutionized the motion picture form" through its experimentation with narrative, continuity, sound, and camerawork.[2] His most acclaimed films include Breathless (1960), Vivre sa vie (1962), Contempt (1963), Band of Outsiders (1964), Alphaville (1965), Pierrot le Fou (1965), Masculin Féminin (1966), Weekend (1967) and Goodbye to Language (2014).[3][4]
During his early career as a film critic for the influential magazine Cahiers du Cinéma, Godard criticised mainstream French cinema's "Tradition of Quality", which de-emphasised innovation and experimentation.[5][1] In response, he and like-minded critics began to make their own films,[1] challenging the conventions of traditional Hollywood in addition to French cinema.[6] Godard first received global acclaim for his 1960 feature Breathless, helping to establish the New Wave movement.[2] His work makes use of frequent homages and references to film history, and often expressed his political views; he was an avid reader of existentialism[7] and Marxist philosophy, and in 1969 formed the Dziga Vertov Group with other radical filmmakers to promote political works.[8] After the New Wave, his politics were less radical, and his later films came to be about human conflict and artistic representation "from a humanist rather than Marxist perspective."[8]
Godard was married three times, to actresses Anna Karina and Anne Wiazemsky, both of whom starred in several of his films, and later to his longtime partner Anne-Marie Miéville.[9] His collaborations with Karina—which included such critically acclaimed films as Vivre sa vie (1962), Bande à part (1964) and Pierrot le Fou (1965)—were called "arguably the most influential body of work in the history of cinema" by Filmmaker magazine.[10] In a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time.[11] He is said to have "generated one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century."[12] His work has been central to narrative theory and has "challenged both commercial narrative cinema norms and film criticism's vocabulary."[13] In 2010, Godard was awarded an Academy Honorary Award.[14]
Early life
[edit]Jean-Luc Godard was born on 3 December 1930[15] in the 7th arrondissement of Paris,[16] the son of Odile (née Monod) and Paul Godard, a Swiss physician.[17] His wealthy parents came from Protestant families of Franco–Swiss descent, and his mother was the daughter of Julien Monod, a founder of the Banque Paribas. She was the great-granddaughter of theologian Adolphe Monod. Other relatives on his mother's side include composer Jacques-Louis Monod, naturalist Théodore Monod, and pastor Frédéric Monod.[18][19] On his father's side, he is a first cousin of former Prime Minister and later President of Peru Pedro Pablo Kuczynski.[20] Four years after Jean-Luc's birth, his father moved the family to Switzerland. At the outbreak of the Second World War, Godard was in France, and returned to Switzerland with difficulty.[21] He spent most of the war in Switzerland, although his family made clandestine trips to his grandfather's estate on the French side of Lake Geneva. Godard attended school in Nyon, Switzerland.[22][23]
Not a frequent cinema-goer, he attributed his introduction to cinema to a reading of André Malraux's essay Outline of a Psychology of Cinema, and his reading of La Revue du cinéma, which was relaunched in 1946.[24] In 1946, he went to study at the Lycée Buffon in Paris and, through family connections, mixed with members of its cultural elite. He lodged with the writer Jean Schlumberger. Having failed his baccalauréat exam in 1948 he returned to Switzerland. He studied in Lausanne and lived with his parents, whose marriage was breaking up. He spent time in Geneva also with a group that included another film fanatic, Roland Tolmatchoff, and the extreme rightist philosopher Jean Parvulesco. His elder sister Rachel encouraged him to paint, which he did, in an abstract style. After time spent at a boarding school in Thonon to prepare for the retest, which he passed, he returned to Paris in 1949.[25] He registered for a certificate in anthropology at the University of Paris (Sorbonne), but did not attend class.[26]
Early career (1950–1959)
[edit]Film criticism
[edit]In Paris, in the Latin Quarter just prior to 1950, ciné-clubs (film societies) were gaining prominence. Godard began attending these clubs—the Cinémathèque Française, Ciné-Club du Quartier Latin (CCQL), Work and Culture ciné club, and others—which became his regular haunts. The Cinémathèque was founded by Henri Langlois and Georges Franju in 1936; Work and Culture was a workers' education group for which André Bazin had organised wartime film screenings and discussions and which had become a model for the film clubs that had risen throughout France after the Liberation; CCQL, founded in about 1947 or 1948, was animated and intellectually led by Maurice Schérer.[27] At these clubs he met fellow film enthusiasts including Jacques Rivette, Claude Chabrol, and François Truffaut.[28] Godard was part of a generation for whom cinema took on a special importance. He said: "In the 1950s cinema was as important as bread—but it isn't the case anymore. We thought cinema would assert itself as an instrument of knowledge, a microscope... a telescope.... At the Cinémathèque I discovered a world which nobody had spoken to me about. They'd told us about Goethe, but not Dreyer. ... We watched silent films in the era of talkies. We dreamed about film. We were like Christians in the catacombs."[29][30]
His foray into films began in the field of criticism. Along with Maurice Schérer (writing under the to-be-famous pseudonym Éric Rohmer) and Jacques Rivette, he founded the short-lived film journal La Gazette du cinéma , which saw the publication of five issues in 1950.[31] When Bazin co-founded the influential critical magazine Cahiers du Cinéma in 1951 (a seminal publication on cinema and its main observers and participants), Godard was the first of the younger critics from the CCQL/Cinémathèque group to be published.[32] The January 1952 issue featured his review of an American melodrama directed by Rudolph Maté, No Sad Songs for Me.[33] His "Defence and Illustration of Classical Découpage" published in September 1952, in which he attacks an earlier article by Bazin and defends the use of the shot–reverse shot technique, is one of his earliest important contributions to cinema criticism.[34] Praising Otto Preminger and "the greatest American artist—Howard Hawks", Godard raises their harsh melodramas above the more "formalistic and overtly artful films of Welles, De Sica, and Wyler which Bazin endorsed".[35] At this point Godard's activities did not include making films. Rather, he watched films, and wrote about them, and helped others make films, notably Rohmer, with whom he worked on Présentation ou Charlotte et son steak.[36]
Filmmaking
[edit]Having left Paris in the fall of 1952, Godard returned to Switzerland and went to live with his mother in Lausanne. He became friendly with his mother's lover, Jean-Pierre Laubscher, who was a labourer on the Grande Dixence Dam. Through Laubscher he secured work himself as a construction worker at the Plaz Fleuri work site at the dam. He saw the possibility of making a documentary film about the dam; when his initial contract ended, to prolong his time at the dam, he moved to the post of telephone switchboard operator. While on duty, in April 1954, he put through a call to Laubscher which relayed the fact that Odile Monod, Godard's mother, had died in a scooter accident. Thanks to Swiss friends who lent him a 35 mm movie camera, he was able to shoot on 35mm film. He rewrote the commentary that Laubscher had written, and gave his film a rhyming title Opération béton (Operation Concrete). The company that administered the dam bought the film and used it for publicity purposes.[37]
As he continued to work for Cahiers, he made Une femme coquette (1955), a 10-minute short, in Geneva; and in January 1956 he returned to Paris. A plan for a feature film of Goethe's Elective Affinities proved too ambitious and came to nothing. Truffaut enlisted his help to work on an idea he had for a film based on the true-crime story of a petty criminal, Michel Portail, who had shot a motorcycle policeman and whose girlfriend had turned him in to the police, but Truffaut failed to interest any producers. Another project with Truffaut, a comedy about a country girl arriving in Paris, was also abandoned.[38] He worked with Rohmer on a planned series of short films centering on the lives of two young women, Charlotte and Véronique; and in the autumn of 1957, Pierre Braunberger produced the first film in the series, All the Boys Are Called Patrick, directed by Godard from Rohmer's script. A Story of Water (1958) was created largely out of unused footage shot by Truffaut. In 1958, Godard, with a cast that included Jean-Paul Belmondo and Anne Colette, made his last short before gaining international prominence as a filmmaker, Charlotte et son Jules, a homage to Jean Cocteau. The film was shot in Godard's hotel room on the rue de Rennes and apparently reflected something of the 'romantic austerity' of Godard's own life at this time. His Swiss friend Roland Tolmatchoff noted: "In Paris he had a big Bogart poster on the wall and nothing else."[39] In December 1958, Godard reported from the Festival of Short Films in Tours and praised the work of, and became friends with, Jacques Demy, Jacques Rozier, and Agnès Varda—he already knew Alain Resnais whose entry he praised—but Godard now wanted to make a feature film. He travelled to the 1959 Cannes Film Festival and asked Truffaut to let him use the story on which they had collaborated in 1956, about car thief Michel Portail. He sought money from producer Georges de Beauregard, whom he had met previously while working briefly in the publicity department of Twentieth Century Fox's Paris office, and who was also at the Festival. Beauregard could offer his expertise, but was in debt from two productions based on Pierre Loti stories; hence, financing came instead from a film distributor, René Pignières.[40]
New Wave period (1960–1967)
[edit]Godard's most celebrated period as a director spans roughly from his first feature, Breathless (1960), through to Week End (1967). His work during this period focused on relatively conventional films that often refer to different aspects of film history. Although Godard's work during this time is considered groundbreaking in its own right, the period stands in contrast to that which immediately followed it, during which Godard ideologically denounced much of cinema's history as bourgeois and therefore without merit.[41]
Breathless
[edit]Godard's Breathless (À bout de souffle, 1960), starring Jean-Paul Belmondo and Jean Seberg, distinctly expressed the French New Wave's style, and incorporated quotations from several elements of popular culture—specifically American film noir. The film employed various techniques such as the innovative use of jump cuts (which were traditionally considered amateurish), character asides, and breaking the eyeline match in continuity editing.[42][43] Another unique aspect of Breathless was the spontaneous writing of the script on the day of shooting—a technique that the actors found unsettling—which contribute to the spontaneous, documentary-like ambiance of the film.[44]
From the beginning of his career, Godard included more film references in his movies than any of his New Wave colleagues. In Breathless, his citations include a movie poster showing Humphrey Bogart—from The Harder They Fall, his last film[45] (whose expression the lead actor Jean-Paul Belmondo tries reverently to imitate)—visual quotations from films of Ingmar Bergman, Samuel Fuller, Fritz Lang, and others; and an onscreen dedication to Monogram Pictures,[46] an American B-movie studio. Quotations from, and references to literature, include William Faulkner, Dylan Thomas, Louis Aragon, Rilke, Françoise Sagan, and Maurice Sachs. The film also contains citations in images or on the soundtrack—Mozart, Picasso, J. S. Bach, Paul Klee, and Auguste Renoir. "This first-person cinema invoked not the director's experience but his presence".[47]
Godard wanted to hire the American actress Jean Seberg, who was living in Paris with her husband François Moreuil, a lawyer, to play the American woman. Seberg had become famous in 1956 when Otto Preminger had chosen her to play Joan of Arc in his Saint Joan, and had then cast her in his 1958 adaptation of Bonjour Tristesse.[48] Her performance in this film had not been generally regarded as a success—The New York Times's critic called her a "misplaced amateur"—but Truffaut and Godard disagreed. In the role of Michel Poiccard, Godard cast Belmondo, an actor he had already called, writing in Arts in 1958, "the Michel Simon and the Jules Berry of tomorrow."[49] The cameraman was Raoul Coutard, choice of the producer Beauregard. Godard wanted Breathless to be shot like a documentary, with a lightweight handheld camera and a minimum of added lighting; Coutard had experience as a documentary cameraman while working for the French army's information service in Indochina during the French-Indochina War. Tracking shots were filmed by Coutard from a wheelchair pushed by Godard. Though Godard had prepared a traditional screenplay, he dispensed with it and wrote the dialogue day by day as the production went ahead.[50] The film's importance was recognised immediately, and in January 1960 Godard won the Jean Vigo Prize, awarded "to encourage an auteur of the future". One reviewer mentioned Alexandre Astruc's prophecy of the age of the caméra-stylo, the camera that a new generation would use with the efficacy with which a writer uses his pen—"here is in fact the first work authentically written with a caméra-stylo".[51]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Aankomst_Franse_filmster_Anna_Karina_op_Schiphol%2C_Bestanddeelnr_921-0594.jpg/220px-Aankomst_Franse_filmster_Anna_Karina_op_Schiphol%2C_Bestanddeelnr_921-0594.jpg)
Early work with Anna Karina
[edit]In 1960 Godard shot Le petit soldat (The Little Soldier). The cast included Godard's future wife Anna Karina. At this time Karina had virtually no experience as an actress. Godard used her awkwardness as an element of her performance. Godard and Karina were a couple by the end of the shoot. She appeared again, along with Belmondo, in Godard's first color film, A Woman Is a Woman (1961), their first project to be released. The film was intended as a homage to the American musical. Adjustments that Godard made to the original version of the story gave it autobiographical resonances, "specifically in regard to his relationship with Anna Karina." The film revealed "the confinement within the four walls of domestic life" and "the emotional and artistic fault lines that threatened their relationship".[52]
Vivre sa vie
[edit]Godard's next film, Vivre sa vie (My Life to Live, 1962), was one of his most popular among critics. Karina starred as Nana, an errant mother and aspiring actress whose financially strained circumstances lead her to the life of a streetwalker. It is an episodic account of her rationalisations to prove she is free, even though she is tethered at the end of her pimp's short leash. In one scene, within a café, she spreads her arms out and announces she is free to raise or lower them as she wishes.[53]
The film was a popular success and led to Columbia Pictures giving him a deal where he would be provided with $100,000 to make a movie, with complete artistic control.[53]
Le petit soldat and Les Carabiniers
[edit]Le petit soldat was not released until 1963, the first of three films he released that year. Le petit soldat dealt with the Algerian War of Independence. It was banned by the French government for the next two years due to its political nature.[54] The 'little soldier' Bruno Forestier was played by Michel Subor. Forestier was a character close to Godard himself, an image-maker and intellectual, 'more or less my spokesman, but not totally' Godard told an interviewer.[55]
The film begins on 13 May 1958, the date of the attempted putsch in Algeria, and ends later the same month. In the film, Bruno Forestier, a photojournalist who has links with a right-wing paramilitary group working for the French government, is ordered to murder a professor accused of aiding the Algerian resistance. He is in love with Veronica Dreyer, a young woman who has worked with the Algerian fighters. He is captured by Algerian militants and tortured. His organisation captures and tortures her. In making Le petit soldat, Godard took the unusual step of writing dialogue every day and calling the lines to the actors during filming – a technique made possible by filming without direct sound and dubbing dialogue in post-production.[56][57]
His following film was Les Carabiniers, based on a story by Roberto Rossellini, one of Godard's influences.[58] The film follows two peasants who join the army of a king, only to find futility in the whole thing as the king reveals the deception of war-administrating leaders.
Contempt
[edit]His final film of 1963 and the most commercially successful film of his career was Le Mépris (Contempt), starring Michel Piccoli and one of France's biggest female stars, Brigitte Bardot.[59][60] The film follows Paul (Piccoli), a screenwriter who is commissioned by Prokosch (Jack Palance), an arrogant American movie producer, to rewrite the script for an adaptation of Homer's Odyssey, which the Austrian director Fritz Lang has been filming. Lang's 'high culture' interpretation of the story is lost on Prokosch, whose character is a firm indictment of the commercial motion picture hierarchy.[61]
Anouchka Films
[edit]In 1964, Godard and Karina formed a production company, Anouchka Films.[62] He directed Bande à part (Band of Outsiders), another collaboration between the two and described by him as "Alice in Wonderland meets Franz Kafka."[63] It follows two young men, looking to score on a heist, who both fall in love with Karina, and quotes from several gangster film conventions.[64][63] While promoting the film, Godard wrote that according to D. W. Griffith, all one needs to make a film is "a girl and a gun."[65]
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[66] 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."[67] Godard made the film during the planning phase for Pierrot le Fou (1965).[68]
In 1965, Godard directed Alphaville, a futuristic blend of science fiction, film noir, and satire.[69] Eddie Constantine starred as Lemmy Caution, a detective who is sent into a city controlled by a giant computer named Alpha 60. His mission is to make contact with Professor von Braun (Howard Vernon), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer.[70][71] His next film was Pierrot le Fou (1965). Gilles Jacob, an author, critic, and president of the Cannes Film Festival, called it both a "retrospective" and recapitulation.[72] He solicited the participation of Jean-Paul Belmondo, by then a famous actor, to guarantee the necessary amount of funding for the expensive film.[73] Godard said the film was "connected with the violence and loneliness that lie so close to happiness today. It's very much a film about France."[74]
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.[75]
Godard followed with Made in U.S.A (1966), the source material for which was Richard Stark's The Jugger. A classic New Wave crime thriller, it was inspired by American Noir films. Anna Karina stars as the anti-hero searching for her murdered lover and the film includes a cameo by Marianne Faithfull.[76][77] A year later came Two or Three Things I Know About Her (1967), in which Marina Vlady portrays a woman leading a double life as housewife and prostitute, considered to be "among the greatest achievements in filmmaking."[78]
La Chinoise (1967) saw Godard at his most politically forthright so far. The film focused on a group of students and engaged with the ideas coming out of the student activist groups in contemporary France. Released just before the May 1968 events, the film is thought by some to have foreshadowed the student rebellions that took place.[79][80]
Week End
[edit]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.[81] 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's 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.[82][page needed]
Political period (1968–1979)
[edit]Godard was known for his "highly political voice", and regularly featured political content in his films.[83][84] 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.[85] Along these lines, Les Carabiniers presents a fictional war that is initially romanticized in the way its characters approach their service, but becomes a stiff anti-war metonym.[86] 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.[41][87][88] 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.[41][89]
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.[90] 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."[91]
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".[92] 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.[93]
Vietnam War
[edit]Godard produced several pieces that directly address the Vietnam War. Furthermore, there are two scenes in Pierrot le fou that tackle the issue. The first is a scene that takes place in the initial car ride between Ferdinand (Belmondo) and Marianne (Karina). Over the car radio, the two hear the message "garrison massacred by the Viet Cong who lost 115 men". Marianne responds with an extended musing on the way the radio dehumanises the Northern Vietnamese combatants.[94] The war is present throughout the film in mentions, allusions, and depictions in newsreel footage, and the film's style was affected by Godard's political anger at the war, upsetting his ability to draw from earlier cinematic styles.[95]
Notably, he also participated in Loin du Vietnam (1967). An anti-war project, it consists of seven sketches directed by Godard (who used stock footage from La Chinoise), Claude Lelouch, Joris Ivens, William Klein, Chris Marker, Alain Resnais, and Agnès Varda.[96][97]
Bertolt Brecht
[edit]Godard's engagement with German poet and playwright Bertolt Brecht stems primarily from his attempt to transpose Brecht's theory of epic theatre and its prospect of alienating the viewer (Verfremdungseffekt) through a radical separation of the elements of the medium (theatre in Brecht's case, but in Godard's, film). Brecht's influence is keenly felt through much of Godard's work, particularly before 1980, when Godard used cinematic expression for specific political ends.[41][98]
For example, Breathless's 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.[99] 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.[41]
Marxism
[edit]A Marxist reading is possible with most if not all of Godard's early work. Godard's direct interaction with Marxism does not become explicitly apparent, however, until Week End, where the name Karl Marx is cited in conjunction with figures such as Jesus Christ. A constant refrain throughout Godard's cinematic period is that of the bourgeoisie's consumerism, the commodification of daily life and activity, and man's alienation—all central features of Marx's critique of capitalism.[8]
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.[100]
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".[101]
Revolutionary period (1968–1979)
[edit]The period which spans from May 1968 into the 1970s has been given various labels—from his "militant" period, to his "radical" period, along with terms as specific as "Maoist" and as vague as "political". In any case, the period saw Godard employ consistent revolutionary rhetoric in his films and in his public statements.[102][41]
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, myself, Roman or François. There are none. We're behind the times."[103]
Films
[edit]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.[102]
In 1978 Godard was commissioned by the Mozambican government to make a short film. During this time his experience with Kodak film led him to criticise the film stock as "inherently racist" since it did not reflect the variety, nuance or complexity in dark brown or dark skin. This was because Kodak Shirley cards were only made for Caucasian subjects, a problem that was not rectified until 1995.[104]
Sonimage
[edit]In 1972, Godard and his life partner, Swiss filmmaker, Anne-Marie Miéville started the alternative video production and distribution company Sonimage, based in Grenoble. Under Sonimage, Godard produced Comment ca va, Numéro Deux (1975) and Sauve qui peut (la vie) (1980).[105] In 1976, Godard and Miéville, his future wife, collaborated on a series of innovative video works for European broadcast television, titled Six fois deux/Sur et sous la communication (1976) and France/tour/détour/deux/enfants (1978).[106] From the time that Godard returned to mainstream filmmaking in 1980, Anne-Marie Miéville remained an important collaborator.[105]
Jean-Pierre Gorin
[edit]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.[102]
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 had 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.[102]
Dziga Vertov Group
[edit]The small group of Maoists that Godard had brought together, which included Gorin, adopted the name Dziga Vertov Group. Godard had a specific interest in Dziga Vertov, a Soviet filmmaker—who was known for a series of radical documentaries titled "Kino Pravda" (literally, "film truth") and the late silent-era feature film Man with a Movie Camera (1929). Vertov was also a contemporary of both Soviet montage theorists, notably Sergei Eisenstein, and Russian constructivist and avant-garde artists such as Alexander Rodchenko and Vladimir Tatlin. Part of Godard's political shift after May 1968 was toward a proactive participation in the class struggle and he drew inspiration from filmmakers associated with the Russian Revolution.[107]
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.[108]
Return to commercial films and Histoire(s) du cinéma (1980–2000)
[edit]Godard returned to somewhat more traditional fiction with Sauve qui peut (la vie) (1980), the first of a series of more mainstream films marked by autobiographical currents: it was followed by Passion, Lettre à Freddy Buache (both 1982), Prénom Carmen (1983), and Grandeur et décadence d'un petit commerce de cinéma (1986). There was, though, another flurry of controversy with Je vous salue, Marie (1985), which was condemned by the Roman Catholic Church for alleged heresy, and also with King Lear (1987), a postmodern production of the play by William Shakespeare. Also completed in 1987 was a segment in the film Aria which was based loosely from the plot of Armide; it is set in a gym and uses several arias by Jean-Baptiste Lully from his famous Armide.[102]
His later films were marked by great formal beauty and frequently a sense of requiem: Nouvelle Vague (New Wave, 1990), the autobiographical JLG/JLG, autoportrait de décembre (JLG/JLG: Self-Portrait in December, 1995), and For Ever Mozart (1996).[109][110][111] Allemagne année 90 neuf zéro (Germany Year 90 Nine Zero, 1991) which is a quasi-sequel to Alphaville, but done with an elegiac tone and focus on the inevitable decay of age.[112] In 1990, Godard was presented with a special award from the National Society of Film Critics.[113] Between 1988 and 1998, he produced the multi-part series Histoire(s) du cinéma, a monumental project which combined all the innovations of his video work with a passionate engagement in the issues of twentieth-century history and the history of film itself.[41]
Late period films (2001–2022)
[edit]In 2001, Éloge de l'amour (In Praise of Love) was released. The film is notable for its use of both film and video—the first half captured in 35 mm black and white, the latter half shot in color on DV—and subsequently transferred to film for editing.[114] The film is also noted for containing themes of ageing, love, separation, and rediscovery as it follows the young artist Edgar in his contemplation of a new work on the four stages of love.[115] In Notre musique (2004), Godard turned his focus to war, specifically, the war in Sarajevo, but with attention to all war, including the American Civil War, the war between the U.S. and Native Americans, and the Israeli–Palestinian conflict.[116][117] The film is structured into three Dantean kingdoms: Hell, Purgatory, and Paradise.[116] Godard's fascination with paradox is constant in the film. It opens with a long, ponderous montage of war images that occasionally lapses into the comic; Paradise is shown as a lush wooded beach patrolled by U.S. Marines.[118][116]
Godard's film Film Socialisme (2010) premiered in the Un Certain Regard section at the 2010 Cannes Film Festival.[119][120] It was released theatrically in France in May 2010. Godard was rumoured to be considering directing a film adaptation of Daniel Mendelsohn's The Lost: A Search for Six of Six Million, an award-winning book about the Holocaust.[121] In 2013, Godard released the short Les trois désastres (The Three Disasters) as part of the omnibus film 3X3D with filmmakers Peter Greenaway and Edgar Pera.[122] 3X3D premiered at the 2013 Cannes Film Festival.[123] His 2014 film Goodbye to Language, shot in 3-D,[124][125] revolves around a couple who cannot communicate with each other until their pet dog acts as an interpreter for them. The film makes reference to a wide range of influences such as paintings by Nicolas de Staël and the writing of William Faulkner, as well as the work of mathematician Laurent Schwartz and dramatist Bertolt Brecht—one of Godard's most important influences.[44] It was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival, where it won the Jury Prize.[126] Godard's non-traditional script for the film was described as a collage of handwritten text and images, and a "artwork" itself.[127]
In 2015 J. Hoberman reported that Godard was working on a new film.[128] Initially titled Tentative de bleu,[129] 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.[130][41] 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.[131]
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."[132] 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.'"[133]
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.[134] 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 and final posthumous short, Scenarios, left unfinished at the time of Godard's death, was finished by Aragno and Jean-Paul Battagia and will have its world premiere at the 2024 Cannes Film Festival.[135][136]
Aragno said that he did not think that either film would be Godard's last film, adding "I say this often that Éloge de l'amour was the beginning of his last gesture. These five, or six or seven films are connected to each other in a way, they're not just full stops. It's not just one painting."[135]
Personal life and death
[edit]Godard was married to two of his leading women: Anna Karina (1961–1965)[137] and Anne Wiazemsky (1967–1979).[138] Beginning in 1970, he collaborated personally and professionally with Anne-Marie Miéville. Godard lived with Miéville in Rolle, Switzerland, from 1978 onwards,[139] and was described by his former wife Karina as a "recluse".[140] Godard married Miéville in the 2010s, according to Patrick Jeanneret, an adviser to Godard.[9]
His relationship with Karina in particular produced some of his most critically acclaimed films,[141] and their relationship was widely publicised: The Independent described them as "one of the most celebrated pairings of the 1960s".[141] Filmmaker magazine called their collaborations "arguably the most influential body of work in the history of cinema."[10]
According to Karina, their relationship was tumultuous and Godard was abusive to her.[142][143][144] Later in life, Karina said they no longer spoke to each other.[143]
Through his father,[145] he was the cousin of Pedro Pablo Kuczynski, former President of Peru.[146]
In 2017, Michel Hazanavicius directed a film about Godard, Redoubtable, based on the memoir One Year After (French: Un an après; 2015) by Wiazemsky.[138] It centers on his life in the late 1960s, when he and Wiazemsky made films together. The film premiered at the Cannes Film Festival in 2017.[147] Godard said that the film was a "stupid, stupid idea".[148]
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".[149] 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.[150] Godard participated in the 2022 documentary See You Friday, Robinson . 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.[151]
At the age of 91, Godard died on 13 September 2022, at his home in Rolle. His death was reported as an assisted suicide procedure, which is legal in Switzerland.[152][153][154][155] Godard's legal advisor said that he had "multiple disabling pathologies",[156] but a family member said that "He was not sick, he was simply exhausted".[157] Miéville was by his side when he died. His body was cremated and there was no funeral service.[158]
Legacy
[edit]![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Godard_pochoir.jpg/220px-Godard_pochoir.jpg)
Godard has been recognised as one of the most influential filmmakers of the 20th century and one of the leaders of the French New Wave.[159]
In 1969, film critic Roger Ebert wrote about Godard's importance in cinema:
Godard is a director of the very first rank; no other director in the 1960s has had more influence on the development of the feature-length film. Like Joyce in fiction or Beckett in theater, he is a pioneer whose present work is not acceptable to present audiences. But his influence on other directors is gradually creating and educating an audience that will, perhaps in the next generation, be able to look back at his films and see that this is where their cinema began.[160]
In 2001, Ebert recalled his early days as a critic, writing "As much as we talked about Tarantino after Pulp Fiction, we talked about Godard in those days."[161] Tarantino cites Godard as an influence; he named a production company he founded A Band Apart, a reference to Godard's 1964 film.[44]
Godard's works and innovations were praised by notable directors such as Michelangelo Antonioni,[162] Satyajit Ray[163] and Orson Welles.[164][165] Welles admired Godard as a director, but criticised him as a thinker, telling Peter Bogdanovich: "He is the definitive influence if not really the first great film artist of this last decade, and his gifts as a director are enormous. I just can't take him very seriously as a thinker—and that's where we seem to differ, because he does."[166] David Thomson reached a similar conclusion, writing that "Godard's greatness rests in his grasping of the idea that films are made of moving images, of moments from films, of images projected in front of audiences" but that "He knows only cinema: on politics and real life he is childish and pretentious." Still, Thomson calls Godard's early films "a magnificent critical explanation of American movies" and "one of the inescapable bodies of work" and deserving of retrospectives.[167] Thomson included Pierrot le Fou on his Sight & Sound list.[168] Swedish director Ingmar Bergman strongly disliked Godard, stating: "I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead. Cinematographically uninteresting and infinitely boring. He's made his films for the critics. One of the movies, Masculin Féminin (1966), was shot here in Sweden. It was mind-numbingly boring."[169]
Fritz Lang agreed to take part in Godard's film Le Mépris due to his admiration of Godard as a director.[170] Akira Kurosawa listed Breathless as one of his 100 favourite films.[171][172] Political activist, critic and filmmaker Tariq Ali listed Godard's film Tout Va Bien as one of his ten favourite films of all time in the 2012 Sight and Sound critics' poll.[173] American film critic Armond White listed Godard's film Nouvelle Vague as one of his top ten favourite films in the same poll.[174] Susan Sontag called Vivre sa vie "one of the most extraordinary, beautiful and original works of art I know of."[175]
Godard's films have influenced and inspired many directors, including Martin Scorsese,[176] Francis Ford Coppola,[177] George Lucas,[178] David Lynch,[179] David Cronenberg,[180] Peter Bogdanovich,[181] Brian De Palma,[182] Oliver Stone,[183][184] William Friedkin,[185] Steven Soderbergh,[186] Andrei Tarkovsky,[187] Andrei Konchalovsky,[187] Alejandro Jodorowsky,[188] Abbas Kiarostami,[44] Atom Egoyan,[189] D. A. Pennebaker,[190] Claire Denis,[191] Robert Altman,[186] Jim Jarmusch,[186] Takeshi Kitano,[192] Gaspar Noé,[193] John Waters,[194]Shane Carruth,[195] Stan Brakhage,[196] Ken Loach,[197] Kevin Macdonald,[191] Abel Ferrara,[191] Luca Guadagnino,[191] Terence Davies,[191] Paul Schrader,[191] Rainer Werner Fassbinder,[198] Wong Kar-wai,[186] Edward Yang,[199] Hou Hsiao-hsien,[200] Wim Wenders,[201] Chantal Akerman,[202] Bela Tarr,[203] Theo Angelopoulos,[204] Raoul Peck,[205] Glauber Rocha,[206][207] Fernando Solanas,[208] Octavio Getino,[208] Emir Kusturica,[209] Terrence Malick,[210] Paul Thomas Anderson,[211] Wes Anderson,[212] Richard Linklater,[213] Harmony Korine,[214] Darren Aronofsky,[215] Bernardo Bertolucci,[216] Dušan Makavejev,[217] Marco Bellocchio,[216] Pier Paolo Pasolini,[216] Jonathan Demme[218] and Max Hechtman.[219]
Four of Godard's films are included on the 2022 edition of the British Film Institute (BFI) Sight and Sound magazine list of 100 Greatest Films: Breathless (38), Le Mépris (54), Histoire(s) du cinéma (78) and Pierrot le Fou (85).[220]
The 60th New York Film Festival which was held in 2022 paid tribute to Godard who died earlier that year. The Onion paid homage to Godard with the headline "Jean-Luc Godard Dies At End of Life In Uncharacteristically Linear Narrative Choice."[221]
Selected filmography
[edit]Feature films
- The list excludes multi-director anthology films to which Godard has contributed shorts.
- 1960 Breathless[222]
- 1961 A Woman Is a Woman[223]
- 1962 My Life to Live[224]
- 1963 The Little Soldier[225]
- 1963 The Carabineers[226]
- 1963 Contempt[227]
- 1964 Band of Outsiders[224]
- 1964 A Married Woman[228]
- 1965 Alphaville[224]
- 1965 Pierrot le Fou[224]
- 1966 Masculin Féminin[224]
- 1966 Made in U.S.A.[229]
- 1967 Two or Three Things I Know About Her[230]
- 1967 La Chinoise[224]
- 1967 Week-end[224]
- 1969 Joy of Learning[231]
- 1970 Wind from the East[232]
- 1971 Struggle in Italy[233]
- 1971 Vladimir and Rosa[234]
- 1972 Tout va bien[235]
- 1975 Number Two[224]
- 1976/1978 How's it going?[236]
- 1980 Every Man for Himself[237]
- 1982 Passion[238]
- 1983 First Name: Carmen[224]
- 1985 Hail Mary[239]
- 1985 Detective[239]
- 1987 King Lear[240]
- 1987 Keep Your Right Up[241]
- 1990 New Wave[109]
- 1991 Germany Year 90 Nine Zero[242]
- 1993 Oh Woe Is Me[243]
- 1996 For Ever Mozart[111]
- 2001 In Praise of Love[244]
- 2004 Notre musique[116]
- 2010 Film Socialisme[224]
- 2014 Goodbye to Language[224]
- 2018 The Image Book[245][246]
Documentary
Short films
Collaboration with ECM Records
[edit]Godard had a lasting friendship with Manfred Eicher, founder and head of the German music label ECM Records.[250] 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,[251] 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).[252]
Among the ECM album covers with Godard's film stills are these:[253]
- 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)
See also
[edit]References
[edit]- ^ a b c Grant 2007, Vol. 3, p. 235.
- ^ a b c Ankeny, Jason. "Biography". AllMovie. Archived from the original on 2 August 2020. Retrieved 18 May 2020.
- ^ Kehr, Dave; Kandell, Jonathan (13 September 2022). "Jean-Luc Godard, 91, Is Dead; Bold Director Shaped French New Wave". The New York Times. ISSN 0362-4331. Archived from the original on 22 September 2022. Retrieved 22 September 2022.
- ^ "'Godard shattered cinema': Martin Scorsese, Mike Leigh, Abel Ferrara, Claire Denis and more pay tribute". The Guardian. 14 September 2022. Archived from the original on 22 September 2022. Retrieved 22 September 2022.
- ^ Grant 2007, Vol. 2, p. 259.
- ^ "Jean-Luc Godard". New Wave Film. Archived from the original on 22 July 2017. Retrieved 24 May 2013.
- ^ David Sterritt. "40 Years Ago, 'Breathless' Was Hyperactive Anarchy. Now It's Part of the Canon". Archived from the original on 2 November 2013. Retrieved 24 May 2013.
- ^ a b c Grant 2007, Vol. 3, p. 126.
- ^ a b Bernstein, Adam (13 September 2022). "Jean-Luc Godard, rule-breaking master of French cinema, dies at 91". The Washington Post. Archived from the original on 3 December 2022. Retrieved 21 September 2022.
His legal and tax adviser, Patrick Jeanneret, confirmed the cause was assisted suicide and said a recent medical report indicated Mr. Godard had what he termed "multiple invalidating pathologies." ... Since the early 1970s, he had been the companion and collaborator of the Swiss filmmaker Anne-Marie Miéville, his only immediate survivor. They married about 10 years ago, Jeanneret said.
- ^ a b Zahedi, Caveh. "'Be Beautiful and Shut Up': Anna Karina on Filmmaking with Jean-Luc Godard". Filmmaker Magazine. Archived from the original on 28 December 2019. Retrieved 13 January 2018.
- ^ "BFI – Sight & Sound – Top Ten Poll 2002 Poll – The Critics' Top Ten Directors". Archived from the original on 23 June 2011.
- ^ Grant 2007, Vol. 3, p. 238.
- ^ Grant 2007, Vol. 3, p. 202.
- ^ Freeman, Nate. "Godard Companion: Director Will Not Travel to Oscars for a 'Bit of Metal' | The New York Observer". The New York Observer. Archived from the original on 8 November 2010. Retrieved 6 February 2012.
- ^ Moullet, Luc (2005). "Jean-Luc Godard". In Jim Hillier (ed.). Cahiers du cinéma: 1960–1968. New Wave, New Cinema, Re-evaluating Hollywood. Vol. 2. Milton Park, Oxford, UK: Routledge. pp. 35–48. ISBN 0-415-15106-6.
- ^ Brody 2008, p. 4.
- ^ Morrey 2005, p. 1.
- ^ "The religion of director Jean-Luc Godard". Adherents.com. Archived from the original on 26 December 2005. Retrieved 29 December 2011.
{{cite web}}
: CS1 maint: unfit URL (link) - ^ "Jean Monod (1765–1836), pasteur". Ordiecole.com. Archived from the original on 4 March 2016. Retrieved 29 December 2011.
- ^ "Madeleine Louise Kuczynski". geni_family_tree. 8 November 1903. Archived from the original on 15 July 2023. Retrieved 15 July 2023.
- ^ Brody 2008, p. 5.
- ^ Rascouet, Angelina (13 September 2022). "Legendary French New Wave director Jean-Luc Godard dead at 91". Fortune. Archived from the original on 14 September 2022. Retrieved 15 September 2022.
- ^ Kehr, Dave; Kandell, Jonathan (13 September 2022). "Jean-Luc Godard, 91, Is Dead; Bold Director Shaped French New Wave". The New York Times. Archived from the original on 14 September 2022. Retrieved 15 September 2022.
- ^ Brody 2008, p. 6.
- ^ Brody 2008, p. 7.
- ^ MacCabe 2005, p. 36.
- ^ Brody 2008, pp. 8–17.
- ^ "Jean-Luc Godard Biography: The Black Sheep". New Wave Film. Archived from the original on 22 July 2017. Retrieved 24 May 2013.
- ^ "Godard Biography". Monsters and Critics. Archived from the original on 2 November 2013. Retrieved 24 May 2013.
- ^ "Le cinema n'a pas su remplir son role". Jean-Pierre Lavoignat and Christophe d'Yvoire, Studio, number 96, 155–158. Archived 25 January 2017 at the Wayback Machine
- ^ "Jean-Luc Godard Biography: What is Cinema?". New Wave Film. Archived from the original on 22 July 2017. Retrieved 24 May 2013.
- ^ Brody 2008, p. 28.
- ^ Andrew, Dudley (2013). André Bazin. Oxford University Press. p. 244. ISBN 978-0-19-993824-7. Archived from the original on 26 March 2023. Retrieved 22 March 2023.
- ^ "Jean-Luc Godard Biography: Cahiers du Cinéma". New Wave Film. Archived from the original on 22 July 2017. Retrieved 24 May 2013.
- ^ Brody 2008, pp. 29–30.
- ^ Brody 2008, pp. 26–27.
- ^ Brody 2008, pp. 31–34.
- ^ Brody 2008, pp. 39–42.
- ^ Brody 2008, p. 45.
- ^ Brody 2008, pp. 47, 50.
- ^ a b c d e f g h "Godard, Jean-Luc". TheFreeDictionary.com. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ Brody 2008, p. 59.
- ^ Brody 2008, p. 69.
- ^ a b c d "Jean-Luc Godard: Nine things about the man who remade cinema". BBC News. 13 September 2022. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Brody 2008, p. 70.
- ^ "MoMA | Jean-Luc Godard's Breathless". moma.org. Archived from the original on 7 April 2020. Retrieved 13 September 2022.
- ^ Brody 2008, p. 71.
- ^ Brody 2008, p. 54.
- ^ Godard on Godard, p. 150.
- ^ Brody 2008, p. 62.
- ^ Brody 2008, pp. 72–73.
- ^ Brody 2008, p. 110.
- ^ a b Archer, Eugene (27 September 1964). "France's Far Out Filmmaker". The New York Times. p. X11.
- ^ Brody, Richard. "Godard's Truthful Torture Scene". The New Yorker. Archived from the original on 24 September 2022. Retrieved 14 September 2022.
- ^ Brody 2008, p. 92.
- ^ Brody 2008, p. 86.
- ^ "Le Petit Soldat (1957)". Turner Classic Movies. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Kolker, Robert Phillip (1985). Bernardo Bertolucci. Oxford University Press. p. 34. ISBN 9780195204926. Archived from the original on 26 March 2023. Retrieved 22 March 2023.
- ^ Marquand, David (13 September 2022). "Jean-Luc Godard: what was the French New Wave and what films are must-sees?". Euronews.
- ^ Paragraph: The Journal of the Modern Critical Theory Group. University of California. 1992. p. 87. Archived from the original on 26 March 2023. Retrieved 22 March 2023.
- ^ "Contempt". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ Sterritt 1998, p. xvii
- ^ a b Katz, Ephraim (1979). The Film Encyclopedia. Crowell. p. 488. ISBN 9780690012040. Archived from the original on 26 March 2023. Retrieved 22 March 2023.
- ^ "Band of Outsiders". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ "Shooting Movies". The New Yorker. 17 April 2012. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Luc Moullet, Masters of Cinema No. 4, booklet p. 10.
- ^ Brody 2008, pp. 190–191.
- ^ Brody 2008, p. 239.
- ^ Meehan, Paul (2015). The Fusion of Science Fiction and Film Noir. McFarland. p. 126. ISBN 9781476609737. Archived from the original on 26 March 2023. Retrieved 22 March 2023.
- ^ "The FT Alphaville genesis story". Financial Times. 15 September 2022. Archived from the original on 16 September 2022. Retrieved 16 September 2022.
- ^ "Alphaville". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ Galbraith IV, Stuart. "Pierrot Le Fou – Criterion Collection". DVDTalk.com. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ MacCabe, Colin (18 February 2014). Godard: A Portrait of the Artist at Seventy. Farrar, Straus and Giroux. p. 174. ISBN 9781466862364. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ Godard--France's Brilliant Misfit Ardagh, John. Los Angeles Times 17 April 1966: b8.
- ^ Usher, Phillip John (2009). "De sexe incertain: Masculin Féminin de Godard". French Forum. 34 (2): 97–112. doi:10.1353/frf.0.0089. ISSN 1534-1836. S2CID 194116472.
- ^ "Made in U.S.A". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ "Movie Review: Made in U.S.A.". The New York Times. 28 September 1967. Archived from the original on 19 March 2024. Retrieved 23 May 2011.
- ^ Taubin, Amy (21 July 2009). "2 or 3 Things I Know About Her: The Whole and Its Parts". The Criterion Collection. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ "La Chinoise". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ "Jean-Luc Godard's La Chinoise and Student Radicalism". Sbhager. 17 March 2016. Archived from the original on 21 September 2022. Retrieved 16 September 2022.
- ^ Morrey 2005, p. 72.
- ^ Morrey 2005.
- ^ "Jean-Luc Godard: Giant who left audience 'Breathless' with highly political voice". The New Indian Express. 14 September 2022. Archived from the original on 28 September 2022. Retrieved 14 September 2022.
- ^ The New York Times Guide to Essential Knowledge. St. Martin's Publishing Group. 2011. p. 1274. ISBN 9781429950855. Archived from the original on 21 March 2023. Retrieved 22 March 2023.
- ^ Elliott, Nicholas (21 January 2020). "Le petit soldat: The Awful Truth". Criterion Collection. Archived from the original on 22 September 2022. Retrieved 15 September 2022.
- ^ "Les Carabiniers". Roger Ebert.com. Archived from the original on 7 February 2021. Retrieved 15 September 2022.
- ^ "Vivre Sa Vie". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ ""Vivre sa Vie" – The Prostitute As A Protagonist". Byarcadia. 13 August 2021. Archived from the original on 20 September 2022. Retrieved 15 September 2022.
- ^ "Pioneer of French New Wave cinema Jean-Luc Godard dies at 91". Cinema Express. 13 September 2022. Archived from the original on 16 September 2022. Retrieved 15 September 2022.
- ^ Michael Cieply (1 November 2010). "An Honorary Oscar Revives a Controversy". The New York Times. Archived from the original on 15 November 2011. Retrieved 27 January 2011.
- ^ Tugend, Tom (6 October 2010). "Is Jean-Luc Godard an anti-Semite?". The Jewish Journal. Archived from the original on 26 October 2012. Retrieved 9 May 2012.
- ^ Richard Brody (2 November 2010). "Jean-Luc Godard: The Oscar Question". The Front Row. Archived from the original on 6 December 2010. Retrieved 27 January 2011.
- ^ Kyle Buchanan (15 November 2010). "Jean-Luc Godard Says Honorary Oscar Meant 'Nothing' to Him". Vulture. Archived from the original on 7 September 2013. Retrieved 9 May 2012.
- ^ Godard, Jean-Luc (1965). Pierrot Le Fou (Motion picture) (in French).
- ^ Brody, Richard (22 September 2009). "Pierrot le fou: Self-Portrait in a Shattered Lens". Criterion Collection. Archived from the original on 7 October 2022. Retrieved 15 September 2022.
- ^ "Far from Vietnam". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 13 September 2022.
- ^ "Loin du Vietnam". Unifrance.org. Archived from the original on 20 September 2022. Retrieved 16 September 2022.
- ^ Barton Palmer, R. (15 August 2022). Joel and Ethan Coen. University of Illinois Press. ISBN 9780252054143. Archived from the original on 11 June 2023. Retrieved 15 September 2022.
- ^ Brody, pp 53–80
- ^ (in French) "Jean-Luc Godard, La religion de l'art. Entretien avec Jacques Rancière" paru dans CinémAction, « Où en est le God-Art ? » Archived 14 September 2022 at the Wayback Machine, n° 109, 2003, pp. 106–112, reproduit sur le site d'analyse L'oBservatoire (simple appareil).
- ^ Sadoul, Georges (1972). Dictionary of Films. University of California Press. p. 393. ISBN 978-0-520-02152-5. Archived from the original on 19 March 2024. Retrieved 14 September 2022.
- ^ a b c d e Brody 2008.
- ^ Wise, Damon (18 May 2018). "Cannes 1968: The Year Jean-Luc Godard and François Truffaut Led Protests That Shut Down The Festival". Deadline. Archived from the original on 1 December 2020. Retrieved 13 November 2020.
- ^ "Light And Dark: The Racial Biases That Remain In Photography". NPR. 16 April 2014. Archived from the original on 13 September 2022. Retrieved 13 September 2022.
- ^ a b "Jean-Luc Godard". Electronic Arts Intermix. Archived from the original on 7 July 2012. Retrieved 11 April 2012.
- ^ "Six Fois Deux / Sur et Sous La Communication [TV Documentary Series]". Fandango. Archived from the original on 8 September 2013. Retrieved 11 April 2012.
- ^ Vertov, Dziga (1984). Kino-eye: the writings of Dziga Vertov. University of California Press. ISBN 9780520056305. Archived from the original on 25 February 2022. Retrieved 6 March 2010.
- ^ Fresko, David (5 June 2018). "Revolutionary Cinematic Suicide, Godard+Gorin: Five Films, 1968–1971". The Brooklyn Rail. Archived from the original on 26 October 2020. Retrieved 29 November 2020.
- ^ a b "Festival de Cannes: Nouvelle Vague". festival-cannes.com. Archived from the original on 4 October 2012. Retrieved 5 August 2009.
- ^ a b Holden, Stephen (2008). "JLG/JLG – Self-Portrait in December". Movies & TV Dept. The New York Times. Archived from the original on 26 February 2008. Retrieved 17 August 2008.
- ^ a b For Ever Mozart Review by Jonathan Rosenbaum)
- ^ "Deutschland neu(n) null | Film 1992". moviepilot.de (in German). Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ "Past Awards". National Society of Film Critics. 19 December 2009. Archived from the original on 29 July 2017. Retrieved 14 September 2022.
- ^ "In Praise of Love". Filmlinc.org. Archived from the original on 20 September 2022. Retrieved 16 September 2022.
- ^ "In Praise of Love". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ a b c d "Festival de Cannes: Notre musique". festival-cannes.com. Archived from the original on 10 October 2012. Retrieved 5 December 2009.
- ^ "Notre Musique de Jean-Luc Goddard" (in French). Unifrance.org. Archived from the original on 20 September 2022. Retrieved 16 September 2022.
- ^ "Notre musique". Box Office Mojo. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ "New Godard: "Socialisme"". Justpressplay.net. 8 May 2009. Archived from the original on 3 August 2012. Retrieved 6 March 2010.
- ^ Leffler, Rebecca (15 April 2010). "Hollywood Reporter: Cannes Lineup". The Hollywood Reporter. Archived from the original on 22 April 2010. Retrieved 16 April 2010.
- ^ Zeitchik, Steven (3 June 2009). "Holocaust Tale Piques Auteur". The Hollywood Reporter. Archived from the original on 2 January 2010.
- ^ "3X3D, a 3D Stereoscopic Feature from Jean-Luc Godard, Peter Greenaway, and Edgar Pera". Stereoscopy News. 9 February 2013. Archived from the original on 8 July 2013. Retrieved 9 February 2013.
- ^ "3x3D: Cannes Review". The Hollywood Reporter. 30 May 2013. Archived from the original on 12 June 2013. Retrieved 4 July 2013.
- ^ craig keller. (13 September 2011). "Cinemasparagus: Adieu Au Langage / Jean-Luc Godard / 5 x 45-Minute Interview This Week". Cinemasparagus.blogspot.com. Archived from the original on 4 January 2012. Retrieved 29 December 2011.
- ^ "Daily Briefing. JLG, Benning/Cassavetes, Jia + Zhao on Notebook". MUBI. 13 September 2011. Archived from the original on 30 December 2011. Retrieved 29 December 2011.
- ^ "Awards 2014: Competition". Cannes. Archived from the original on 23 October 2013. Retrieved 25 May 2014.
- ^ Hudson, David (13 June 2013). "On the Set of Godard's ADIEU AU LANGAGE". San Francisco, CA: Keyframe (Fandor). Archived from the original on 24 September 2022. Retrieved 24 September 2022.
- ^ Hoberman, J. (24 February 2015). "Brother From Another Planet". The Nation. Archived from the original on 28 February 2015. Retrieved 1 March 2015.
- ^ "Ciak News 295: cos'è il cinema" (in Italian). Radiotelevisione svizzera. 5 September 2015. Archived from the original on 22 November 2018. Retrieved 26 October 2016.
- ^ Goodfellow, Melanie (27 December 2016). "New Jean-Luc Godard, Omar Sy films on 2017 Wild Bunch slate". Screen Daily. Archived from the original on 31 December 2016. Retrieved 1 January 2017.
- ^ Woodward, Daisy (4 December 2019). "Why New Wave Auteur Jean-Luc Godard Has Recreated His Studio in Milan". AnOther Publishing Ltd. Archived from the original on 5 December 2019. Retrieved 7 December 2019.
- ^ Deruisseau, Bruno; Lalanne, Jean-Marc (17 July 2020). "On a parlé des Gilets jaunes, de collapsologie et de psychanalyse avec Jean-Luc Godard". Les Inrockuptibles. Archived from the original on 24 September 2022. Retrieved 24 September 2022.
- ^ "Jean-Luc Godard in conversation with C S Venkiteswaran 25th IFFK". International Film Festival of Kerala (YouTube). 2 March 2021. Archived from the original on 24 September 2022. Retrieved 24 September 2022.
- ^ Thorne, Will (9 July 2021). "Frequent Jean-Luc Godard Collaborator Fabrice Aragno on His Feature Debut and Making Godard's 'Final Gesture'". Variety. Archived from the original on 24 September 2022. Retrieved 24 September 2022.
- ^ a b Kohn, Eric (4 March 2023). "HBO's 'The Idol' Controversy Suggests The Weeknd Has an Auteur Problem (Column)". Indiewire. Archived from the original on 6 March 2023. Retrieved 4 March 2023.
- ^ "Cannes Classics 2024". Festival de Cannes. 25 April 2024. Retrieved 26 April 2024.
- ^ Garcia, Patricia (10 May 2016). "Anna Karina on Loving and Working With Jean-Luc Godard". Vogue. Archived from the original on 25 January 2020. Retrieved 9 October 2017.
- ^ a b Roberts, Sam (5 October 2017). "Anne Wiazemsky, Film Star, Wife of Godard and Author, Dies at 70". The New York Times. Archived from the original on 9 October 2017. Retrieved 10 October 2017.
- ^ "'A lot of people hate Jean-Luc Godard': 'The Artist' director Michel Hazanavicius on making 'Redoubtable'". The Independent. 8 May 2018. Archived from the original on 4 November 2019. Retrieved 4 November 2019.
- ^ "Anna Karina on love, cinema and being Jean-Luc Godard's muse: 'I didn't want to be alive any more'". The Guardian. 21 January 2016. Archived from the original on 10 February 2020. Retrieved 4 November 2019.
- ^ a b "Jean Luc Godard's muse Anna Karina on why she refused to star in 'Breatless'". The Independent. 12 February 2016. Archived from the original on 21 August 2020. Retrieved 13 January 2018.
- ^ "Anna Karina on Loving and Working With Jean-Luc Godard". Vogue. 10 May 2016. Archived from the original on 25 January 2020. Retrieved 7 April 2023.
- ^ a b "Anna Karina on Her Torrid Love Affair with Jean-Luc Godard". W Magazine. 4 May 2016. Archived from the original on 19 December 2019. Retrieved 7 April 2023.
- ^ Brooks, Xan (21 January 2016). "Anna Karina on love, cinema and being Jean-Luc Godard's muse: 'I didn't want to be alive any more'". The Guardian. ISSN 0261-3077. Archived from the original on 10 February 2020. Retrieved 7 April 2023.
- ^ MacCabe 2005, p. 39.
- ^ "A Surprising Coalition Brings A New Leader To Peru". The New Yorker. 10 June 2016. Archived from the original on 19 January 2018. Retrieved 28 July 2017.
- ^ Zeitchik, Steven (28 May 2017). "Cannes 2017: New movie about Jean-Luc Godard, from 'The Artist' director, shows auteurs can be funny too". Los Angeles Times. Archived from the original on 10 October 2017. Retrieved 9 October 2017.
- ^ Horton, Perry (29 March 2017). "Godard on Godard Biopic: 'Stupid, Stupid Idea.' But the Show Goes On". Film School Rejects. FilmSchoolRejects. Archived from the original on 17 April 2018. Retrieved 16 April 2018.
- ^ Kohn, Eric (5 September 2019). "Agnès Varda's Daughter on Her Mother's Death and the Future of Her Archive". Indiewire. Archived from the original on 26 September 2022. Retrieved 26 September 2022.
- ^ Brody, Richard (19 April 2019). ""Film Catastrophe": The Making of a Godard Film that Anticipated a Real-Life Disaster". The New Yorker. Archived from the original on 14 October 2022. Retrieved 13 October 2022.
- ^ Vivarelli, Nick (5 August 2021). "Jean-Luc Godard Non-Conventional Documentary 'See You Friday Robinson' Set For Festival Circuit (EXCLUSIVE)". Variety. Archived from the original on 26 September 2022. Retrieved 25 September 2022.
- ^ "Jean-Luc Godard a eu recours au suicide assisté: "Il n'était pas malade, il était simplement épuisé"" [Jean-Luc Godard resorted to assisted suicide: "He was not sick, he was simply exhausted"]. Libération (in French). Archived from the original on 13 September 2022. Retrieved 13 September 2022.
- ^ Pulver, Andrew (13 September 2022). "Jean-Luc Godard, giant of the French new wave, dies at 91". The Guardian. Archived from the original on 13 September 2022. Retrieved 13 September 2022.
- ^ "Le cinéaste Jean-Luc Godard est décédé à l'âge de 91 ans" [Filmmaker Jean-Luc Godard dies aged 91]. Swissinfo. 13 September 2022. Archived from the original on 13 September 2022. Retrieved 13 September 2022.
- ^ "Iconic French New Wave director Jean-Luc Godard dead at 91". Associated Press News. 13 September 2022. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Kehr, David; Kandall, Jonathan (13 September 2022). "Jean-Luc Godard, 91, Is Dead; Bold Director Shaped French New Wave". The New York Times. Archived from the original on 24 September 2022. Retrieved 24 September 2022.
- ^ Bergeson, Samantha (15 September 2022). "Hollywood Remembers Jean-Luc Godard: Filmmakers Pay Tribute to New Wave Iconoclast". Indiewire. Archived from the original on 23 September 2022. Retrieved 24 September 2022.
- ^ "Jean-Luc Godard died by assisted suicide, legal adviser confirms". La Monde. 13 September 2022. Archived from the original on 26 September 2022. Retrieved 25 September 2022.
- ^ Carl Holm (3 December 2020). "Nouvelle Vague filmmaker Jean-Luc Godard at 90". DW. Deutsche Welle. Archived from the original on 3 January 2022. Retrieved 3 January 2022.
- ^ Roger Ebert (30 April 1969). "On Jean-Luc Godard". RogerEbert.com LLC. Archived from the original on 3 January 2022. Retrieved 3 January 2022.
- ^ Ebert, Roger (2001). "My Life to Live". Chicago Sun-Times. Archived from the original on 12 June 2020. Retrieved 3 February 2023.
- ^ Bert Cardullo; Michelangelo Antonioni (2008). Michelangelo Antonioni – Interviews. University Press of Mississippi. p. 94. ISBN 9781934110652.
- ^ Satyajit Ray on Cinema. Columbia University Press. 2 April 2013. p. 99. ISBN 9780231535472.
- ^ David Thomson (23 March 2021). "8 - Godardian". A Light in the Dark: A History of Movie Directors. Knopf Doubleday Publishing Group. p. 134. ISBN 9780593318164.
Orson Welles said of Jean-Luc Godard, "He's the definitive influence if not really the first film artist of this last decade, and his gifts as a director are enormous. I just can't take him very seriously as a thinker – and that's where we seem to differ, because he does."
- ^ Glenn Kenny (2 November 2018). "The Other Side of the Wind". RogerEbert.com LLC. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
In that book Welles says of Godard, "What's most admirable about him is his marvelous contempt for the machinery of movies and even movies themselves—a kind of anarchistic, nihilistic contempt for the medium—which, when he's at his best and most vigorous, is very exciting."
- ^ Bogdanovich, Peter. This is Orson Welles (Revised ed.). p. 139.
- ^ Thomson, David (2010). The New Biographical Dictionary of Film (Fifth ed.). pp. 384–385.
- ^ Thomson, David (2012). "David Thomson's Top Ten". Sight and Sound. Archived from the original on 18 August 2016.
- ^ "The reason why Ingmar Bergman hated Jean-Luc Godard movies". faroutmagazine.co.uk. 11 August 2021. Archived from the original on 17 October 2023. Retrieved 15 October 2023.
- ^ Wheeler W. Dixon (6 March 1997). The Films of Jean-Luc Godard. State University of New York Press. p. 42. ISBN 9780791432860.
Fritz Lang accepted because he admired Godard's work as a director, and agreed to act in the film, but to act only, and not interfere with Godard's creative process as a filmmaker.
- ^ Lee Thomas-Mason (12 January 2021). "From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time". Far Out. Far Out Magazine. Archived from the original on 10 June 2021. Retrieved 21 August 2021.
- ^ "Akira Kurosawa's Top 100 Movies!". Archived from the original on 27 March 2010.
- ^ "Tariq Ali". British Film Institute. Archived from the original on 18 August 2016.
- ^ "Armond White". British Film Institute. Archived from the original on 18 August 2016. Retrieved 14 September 2022.
Godard's rarely screened Nouvelle Vague looms in my memory as his grandest work – grander and more important still due to cinephilia's recent decline.
- ^ Sontag, Susan. "Godard's Vivre Sa Vie" (PDF). Archived (PDF) from the original on 26 March 2023. Retrieved 4 March 2023.
{{cite journal}}
: Cite journal requires|journal=
(help) - ^ Swapnil Dhruv Bose (21 April 2022). "How Jean-Luc Godard influenced Martin Scorsese's 'Casino'". Far Out. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Travis Hartman; Catherine Tai; Wen Foo (21 March 2022). "The Godfather at 50". Reuters. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ John K. Balor (18 February 2018). The Epic Structure of Space 1999. Lulu.com. p. 363. ISBN 9781387360086.
In fact, George Lucas even says in the commentary tracks that THX 1138 was influenced by Jean-Luc Godard's BREATHLESS and other seminal works from the French New Wave that had a ground-breaking impact on him and his generation of American filmmakers.
- ^ Calum Russell (15 July 2022). "The movies that David Lynch "oriented" himself on". Far Out. Far Out Magazine. Archived from the original on 15 September 2022. Retrieved 15 September 2022.
s for the filmmakers that have particularly inspired Lynch's craft, the director goes on to say, "Everyone should find their own voice. It's not about copying", before finally admitting that "[Jean-Luc] Godard, [Federico] Fellini and [Ingmar] Bergman were my heroes".
- ^ The Flashback Files. "Some Place Really Deep – David Cronenberg interview". The Flashback Files. Archived from the original on 20 September 2022. Retrieved 17 September 2022.
Interviewer: "As a self-taught filmmaker, what were your influences when you started to learn the medium?" Cronenberg: "I always thought I would be a writer. It was almost accidental that I became a filmmaker, out of curiosity. I was interested in technology, so I started making films. My influences were mostly literary, but coming into film I learned from seeing films, and I saw everything. Particularly the art films from the fifties en sixties, when suddenly you had Fellini and Kurosawa and Godard and Truffaut. Those were really hot at the time. People went to see them. I don't think people would go to see them now. They had an influence."
- ^ "Peter Bogdanovich: Barbra Streisand leads tributes to late film director". BBC. 7 January 2022. Archived from the original on 18 September 2022. Retrieved 14 September 2022.
In 1966, inspired by New Wave directors like Jean Luc-Godard making their own films, Bogdanovich decided to become a director and moved to Los Angeles with his first wife Polly Platt.
- ^ Richard Brody (13 May 2008). Everything Is Cinema: The Working Life of Jean-Luc Godard. Henry Holt and Company. p. 323. ISBN 9781429924313.
Brian De Palma, fresh from his first feature film (Greetings), declared, "If I could be the American Godard, that would be great."
- ^ Oliver Stone (2001). "Radical Frames of Mind – Nigel Floyd/1987". In Silet, Charles L. P. (ed.). Oliver Stone – Interviews. University Press of Mississippi. p. 13. ISBN 9781578063031.
My heroes were Buñuel and Godard, and Breathless was one of the first pictures I really remember being marked by, because of the speed and the energy.
- ^ James Michael Welsh; Donald M. Whaley (2013). The Oliver Stone Encyclopedia. Scarecrow Press, Incorporated. p. 87. ISBN 9780810883529.
Oliver Stone had said that Jean-Luc Godard's Breathless (A bout de souffle, 1960), the story of a thief and murderer (Jean-Paul Belmondo) who, accompanied by his American girlfriend (Jean Seberg), is on the run from the police, was the "movie that most influenced me as a filmmaker.
- ^ Mike Fleming Jr (6 August 2015). "William Friedkin Q&A: '70s Maverick Revisits A Golden Era With Tales Of Glory And Reckless Abandon". Deadline. Deadline Hollywood, LLC. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
Friedkin: ".... But none of us in the 70s thought we were operating in a golden age; we all had been influenced by Godard, Fellini, Truffaut, Kurosawa."
- ^ a b c d "Jean-Luc Godard: Biography". British Film Institute. 4 September 2006. Archived from the original on 5 June 2011. Retrieved 28 September 2011.
He made an enormous impact on the future direction of cinema, influencing film-makers as diverse as Robert Altman, Martin Scorsese, Jim Jarmusch, Rainer Werner Fassbinder, Wim Wenders, Steven Soderbergh, Quentin Tarantino and Wong Kar-Wai.
- ^ a b Shusei Nishi (22 December 2012). Tarkovsky and His Time – Hidden Truth of Life. Createspace Independent Pub. ISBN 9781481293785.
- ^ Frank P. Tomasulo (January 2018). "Independent Cinema: El Topo and the Midnight Movie Craze". Projections. Academia. Archived from the original on 26 March 2023. Retrieved 15 September 2022.
Jodorowsky himself stated that "El Topo is a library...of all the books I love. He also acknowledged the influence of Jean-Luc Godard, Luis Buñuel, Sergio Leone, Erich von Stroheim, and Buster Keaton.
- ^ "Atom Egoyan's Top 10". The Criterion Collection. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ "1 PM". Pennebaker Hegedus Films. Archived from the original on 24 August 2011. Retrieved 5 January 2012.
- ^ a b c d e f "'Godard shattered cinema': Martin Scorsese, Mike Leigh, Abel Ferrara, Claire Denis and more pay tribute". The Guardian. 14 September 2022. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ "Film directors reflect on Godard: 'He probably exists outside our understanding'". Le Monde. 14 September 2022. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Arun Starkey (17 October 2021). "The two big-budget films that Gaspar Noe despises". Far Out. Far Out Magazine. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ "James Egan / 2010". John Waters: Interviews. University Press of Mississippi. 13 September 2011. p. 219. ISBN 9781617031823.
John Waters: "All those art movies influenced me. Beside Bunuel...Bergman, Godard, they were all huge influences...
- ^ Lane Brown (7 April 2013). "Shane Carruth Explains His Cultural Influences". Vulture. 2022 Vox Media, LLC. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Jerry White (19 April 2018). Stan Brakhage in Rolling Stock, 1980–1990. Wilfrid Laurier University Press. ISBN 9781771123068.
- ^ Calum Russell (17 June 2021). "Ken Loach's top 10 favourite films of all time". Far Out. Far Out Magazine. Archived from the original on 19 March 2024. Retrieved 14 September 2022.
- ^ James Quandt (6 April 2017). "10 great films that inspired Rainer Werner Fassbinder". British Film Institute. Archived from the original on 20 September 2022. Retrieved 14 September 2022.
Like Godard, Fassbinder flaunted his influences through homage and citation – to Jean-Pierre Melville, Bertolt Brecht and Godard in his early crime films, to Bresson and Andrei Tarkovsky in The Third Generation (1979), to many American directors throughout his career.
- ^ Shelly Kraicer; Lisa Roosen-Runge (1998). "Edward Yang: a Taiwanese independent filmmaker in conversation". CineAction. pp. 48–55. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Ivy I-chu Chang (4 January 2019). Taiwan Cinema, Memory, and Modernity. Springer Singapore. p. 3. ISBN 9789811335679.
Many film directors admitted the influence of French New Wave: Hou Hsiao-hsien was influenced by Jean-luc Godard (Olivier Assayas 1984: 62), Robert Bresson, Pier Paolo Pasolini, and Rainer Werner Fassbinder (Emmanuel Burdeau 2005 [1999]: 74)...
- ^ The Observer (26 November 2022). "Godard only knows..." The Guardian. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
'For me, discovering cinema was directly connected to his films. I was living in Paris at the time. When Made in USA opened, I went to the first show – it was around noon – and I sat there until midnight. I saw it six times in a row.' – Wim Wenders
- ^ "The French New Wave: Chantal Akerman". The New Yorker. 12 August 2008. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
A fifteen-year-old girl from Brussels, Chantal Akerman, saw Jean-Luc Godard's "Pierrot le fou" (1965) in first run and came out resolved to become a filmmaker.
- ^ Leonard Pearce (21 October 2019). "Béla Tarr's 10 Favorite Films". The Film Stage. The Film Stage, L.L.C. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ Horton, Andrew (29 September 2016). "3 – Angelopoulos, the Continuous Image and Cinema". The Films of Theo Angelopoulos – A Cinema of Contemplation. Princeton University Press. p. 73. ISBN 978-1400884421.
We should realize, however, that Angelopoulos is an unusual paradox in the history of cinema: he is very clearly "Greek" as I have demonstrated, and yet he is an international filmmaker who has been influenced by filmmakers from around the globe. He has observed: "I draw techniques from everything I've seen .... I continue to love ... very much the films of Murnau, Mizoguchi, Antonioni. More recently: Tarkovsky's Stalker, Godard's Every Man for Himself and of course Ordet ....
- ^ Laura U. Marks; Dana Polan (19 January 2000). The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Duke University Press. p. 35. ISBN 9780822381372.
Peck includes among his influences Jean-Luc Godard and Chris Marker (Peck), and the film consists of a violent confrontation between different orders of truth, as in Godard's work, and a gentle, caressing rumination on the impossibility of recovering history from its representations, as in Marker's.
- ^ Clemmy Manzo; Kiki Deere; Stephen Keeling; Daniel Jacobs (October 2014). The Rough Guide to Brazil. Rough Guides Limited. p. 668. ISBN 9780241013878.
The influence of 1960s French film-makers, especially Godard, was overwhelming in the main exponent of this genre, Glauber Rocha.
- ^ Ronald Schwartz (1997). Latin American Films, 1932-1994: A Critical Filmography. McFarland, Incorporated, Publishers. p. 38. ISBN 9781476621746.
On another level, Rocha manipulates and disrupts traditional "classic cinema" by incorporating a number of diverse cinematic influences in several sections of the film. Eisenstein, Godard and Brecht are utilized and reworked in a Brazilian setting.
- ^ a b Kevin McDonald (11 May 2022). Film Theory: The Basics. Taylor & Francis. ISBN 9781000579482.
Solanas and Getino, for instance, mention the influence of European filmmakers like Jean-Luc Godard and Chris Marker.
- ^ Dina Iordanova (July 2002). Emir Kusturica. British Film Institute. p. 142. ISBN 9780851708980.
When discussing Kusturica, critics have also made references to the work of Cocteau, René Clair and Godard (whose 1959 À bout de souffle [Breathless]) Kusturica has also quoted as a key influence)...
- ^ Bilge Ebiri (18 April 2013). "Radiant Zigzag Becoming: How Terrence Malick and His Team Constructed To the Wonder". Vulture. Vox Media, LLC. Archived from the original on 15 September 2022. Retrieved 15 September 2022.
Malick is also a huge fan of Jean-Luc Godard and often referenced Godard films such as Breathless, Pierrot le Fou, and Vivre Sa Vie, for their elliptical narrative and editing styles.
- ^ News Wires (13 September 2022). "French New Wave film director Jean-Luc Godard dies at 91". France 24. Archived from the original on 15 September 2022. Retrieved 15 September 2022.
Godard's influence is hard to underestimate, with directors from Martin Scorsese, Quentin Tarantino and Paul Thomas Anderson to Robert Altman, the maker of "M*A*S*H" and "The Player", often speaking of their debt to him.
- ^ Whitney Crothers Dilley (8 August 2017). The Cinema of Wes Anderson: Bringing Nostalgia to Life. Columbia University Press. ISBN 9780231543200.
He reserves particular admiration for the French directors Jean Renoir, Louis Malle, Jean-Luc Godard, and particularly François Truffaut. His admiration for all of these directors and their films influences his filmmaking in terms of style, subject, character, and theme.
- ^ Rob Stone (10 April 2018). The Cinema of Richard Linklater: Walk, Don't Run. Columbia University Press. p. 6. ISBN 9780231851244.
- ^ Michael Allen (25 September 2014). Contemporary US Cinema. Taylor & Francis. p. 69. ISBN 9781317874195.
Harmony Korine, writer of Kids (1995), and director of Gummo (1997) and Julien Donkey-Boy (1999), cites Fassbinder, Godard and, especially, Alan Clarke as influences...
- ^ Jamey Keaten; Thomas Adamson (13 September 2022). "Iconic French New Wave director Jean-Luc Godard dead at 91". The Washington Post. Retrieved 15 September 2022.
Black Swan" director Darren Aronofsky tweeted: "learned a lot from my vhs copy of breathless... thank you maestro.
- ^ a b c Grant 2007, Vol. 3, p. 49.
- ^ "10 films influenced by French director Jean-Luc Godard". 3 December 2020. Archived from the original on 14 September 2022. Retrieved 14 September 2022.
- ^ "Jean-Luc Godard, iconic French director, dead at 91". PBS. 13 September 2022.
- ^ Satnick, Randi. "The Real Deal: A look through the lens of a young Long Island filmmaker". Your News Mag. Retrieved 4 February 2024.
- ^ "The 100 Greatest Films of All Time". British Film Institute. Archived from the original on 18 March 2021. Retrieved 14 September 2022.
- ^ "Jean-Luc Godard Dies At End of Life In Uncharacteristically Linear Narrative Choice". The Onion. 13 September 2022. Archived from the original on 2 February 2023. Retrieved 2 February 2023.
- ^ "Film: 50 years of Jean‑Luc Godard's Breathless". The Guardian. 5 June 2010. Archived from the original on 15 September 2022. Retrieved 16 September 2022.
- ^ "Une femme est une femme". Berlinale. Archived from the original on 27 March 2016. Retrieved 16 September 2022.
- ^ a b c d e f g h i j k "15 Essential Jean-Luc Goddard Films". Taste of Cinema. 20 January 2016. Archived from the original on 14 September 2022. Retrieved 16 September 2022.
- ^ Ebert, Roger. "Le Petit Soldat movie review & film summary (1960) | Roger Ebert". rogerebert.com/. Archived from the original on 7 October 2022. Retrieved 7 October 2022.
- ^ Ebert, Roger (29 October 1968). "Les Carabiniers". RogerEbert.com. Archived from the original on 7 February 2021. Retrieved 16 September 2022.
- ^ The New York Times movie review Archived 19 March 2024 at the Wayback Machine by Bosley Crowther from 19 December 1964
- ^ Abele, Robert (15 April 2016). "Review: Jean-Luc Godard coolly dissects modern bourgeois life in the digitally restored 'Une Femme Mariée'". Los Angeles Times. Archived from the original on 20 September 2022. Retrieved 16 September 2022.
- ^ Scott, A. O. (8 January 2009). "Godard's '60s Policier, Set in Atlantic City, France". The New York Times. Archived from the original on 20 April 2019. Retrieved 23 May 2011.
- ^ Dargis, Manohla (17 November 2006). "Two or Three Things I Know About Her ..." The New York Times. Archived from the original on 18 January 2018. Retrieved 12 June 2022.
- ^ Hoberman, J. (27 July 2017). "A Godard Riff That Adapts Rousseau's Treatise on Education". The New York Times. Archived from the original on 20 September 2022. Retrieved 16 September 2022.
- ^ Wills 2000, p. 146.
- ^ "Jean-Luc Godard: Visionary director's life and films in pictures". BBC News. 13 September 2022. Archived from the original on 16 September 2022. Retrieved 16 September 2022.
- ^ "Vladimir Et Rosa". Viennale. Archived from the original on 20 September 2022. Retrieved 16 September 2022.
- ^ a b Wills 2000, p. 147.
- ^ "Comment Ça Va (How's It Going) Jean Luc Godard, 1976". Duke.edu. Archived from the original on 20 September 2022. Retrieved 16 September 2022.
- ^ "Festival de Cannes: Sauve qui peut (la vie)". festival-cannes.com. Archived from the original on 3 October 2009. Retrieved 28 May 2009.
- ^ "Festival de Cannes: Passion". festival-cannes.com. Archived from the original on 22 August 2011. Retrieved 12 June 2009.
- ^ a b Wills 2000, p. 152.
- ^ Wills 2000, p. 153–154.
- ^ Buache, Freddy (1998). Âge d'homme & Histoire et théorie du cinéma (ed.). Le cinéma suisse. L'Age d'Homme. p. 440. ISBN 978-2-8251-1012-6.
- ^ "Jean-Luc Goddard, film-maker, 1930–2022". Financial Times. 13 September 2022. Archived from the original on 10 December 2022. Retrieved 16 September 2022.
- ^ Fieschi-Vivet, Laeticia (2000). The Cinema Alone: Essays on the Work of Jean-Luc Godard, 1985–2000. Amsterdam University Press. p. 189. ISBN 9789053564561. Archived from the original on 19 March 2024. Retrieved 16 September 2022.
- ^ "Festival de Cannes: In Praise of Love". festival-cannes.com. Archived from the original on 8 October 2012. Retrieved 17 October 2009.
- ^ Debruge, Peter; Keslassy, Elsa (12 April 2018). "Cannes Lineup Includes New Films From Spike Lee, Jean-Luc Godard". Variety. Archived from the original on 27 March 2019. Retrieved 12 April 2018.
- ^ "Le Livre d'Image (Image Book)". Cannes Film Festival. Archived from the original on 1 May 2018. Retrieved 30 April 2018.
- ^ a b c Wills 2000, p. 145.
- ^ "Here And Elsewhere + All Is Well on the Border". George Eastman Museum. Archived from the original on 18 August 2016. Retrieved 16 September 2022.
- ^ "The Kids Play Russian". Mubi. Archived from the original on 20 September 2022. Retrieved 16 September 2022.
- ^ Lake: Horizons Touched (2010), pp. 115–133.
- ^ Kern: Der Blaue Klang (2010), pp. 99–111.
- ^ Lake: Horizons Touched (2010), pp. 5–12.
- ^ Lake: Windfall Light (2010), pp. 415–441.
Sources and further reading
[edit]- Almeida, Jane. Dziga Vertov Group "Mostra Grupo Dziga Vertov". Archived from the original on 11 March 2007. Retrieved 13 September 2022.
{{cite web}}
: CS1 maint: bot: original URL status unknown (link). São Paulo: witz, 2005. ISBN 85-98100-05-6. - Nicole Brenez, David Faroult, Michael Temple, James E. Williams, Michael Witt (eds.) (2007). Jean-Luc Godard: Documents. Paris: Centre Georges Pompidou.
- Brody, Richard (2008). Everything Is Cinema: The Working Life of Jean-Luc Godard. Macmillan. ISBN 978-0-8050-6886-3.
- Dixon, Wheeler Winston. The Films of Jean-Luc Godard. Albany: State University of New York Press, 1997.
- Godard, Jean Luc (1986). Godard on Godard: Critical Writings by Jean-Luc Godard. Da Capo Press. ISBN 978-0-306-80259-1.
- Godard, Jean-Luc (2002). The Future(s) of Film: Three Interviews 2000–01. Bern; Berlin: Verlag Gachnang & Springer. ISBN 978-3-906127-62-0.
- Godard, Jean-Luc (2014). Introduction to a True History of Cinema and Television. Montreal: caboose. ISBN 978-0-9811914-1-6.
- Grant, Barry Keith, ed. (2007). Schirmer Encyclopedia of Film. Detroit: Schirmer Reference. ISBN 978-0-02-865791-2.
- Intxauspe, J.M. (2013). "Film Socialisme: Quo vadis Europa". hAUSnART, 3: 94–99.
- Lake, Steve and Griffiths, Paul, eds. (2007). Horizons Touched: the Music of ECM. Granta Books. ISBN 978-1-86207-880-2. 2007.
- Loshitzky, Yosefa. The Radical Faces of Godard and Bertolucci.
- MacCabe, Colin (2005). Godard: A Portrait of the Artist at Seventy. New York: Faber and Faber. ISBN 978-0-571-21105-0.
- Morrey, Douglas (2005). Jean-Luc Godard. New York: Manchester University Press. ISBN 978-0-7190-6759-4. Archived from the original on 1 January 2014. Retrieved 16 March 2016.
- Müller, Lars (2010). Windfall Light: The Visual Language of ECM. Lars Müller Publishers. ISBN 978-3-03778-157-9 (in English) & ISBN 978-3-03778-197-5 (in German).
- Rainer Kern, Hans-Jürgen Linke and Wolfgang Sandner (2010). Der Blaue Klang. Wolke Verlag. ISBN 978-3-936000-83-2 (in German).
- Silverman, Kaja and Farocki, Harun. 1998. Speaking About Godard. New York: New York University Press.
- Sontag, Susan (1966). "Godard's Vivre sa Vie" in Against Interpretation. New York: Farrar, Straus and Giroux.
- Sontag, Susan (1969). "Godard" in Styles of Radical Will. New York: Farrar, Straus and Giroux.
- Steritt, David (1998). Jean-Luc Godard: Interviews. Jackson, Mississippi: University Press of Mississippi. ISBN 9781578060818.
- Sterritt, David (13 August 1999). The Films of Jean-Luc Godard: Seeing the Invisible. Cambridge University Press. ISBN 978-0-521-58971-0. Archived from the original on 3 August 2020. Retrieved 24 December 2019.
- Stevenson, Diane. "Godard and Bazin" in the Andre Bazin special issue, Jeffrey Crouse (ed.), Film International, Issue 30, Vol. 5, No. 6, 2007, pp. 32–40.
- Temple, Michael. Williams, James S. Witt, Michael (eds.) 2007. For Ever Godard. London: Black Dog Publishing.
- Temple, Michael and Williams, James S. (eds.) (2000). The Cinema Alone: Essays on the Work of Jean-Luc Godard 1985–2000. Amsterdam: Amsterdam University Press.
- Usher, Phillip John (2009). "De Sexe Incertain: Masculin, Féminin de Godard". French Forum, vol. 34, no. 2, pp. 97–112.
- Wills, David (28 April 2000). Jean-Luc Godard's Pierrot Le Fou. Cambridge University Press. ISBN 978-0-521-57489-1. Archived from the original on 3 August 2020. Retrieved 24 December 2019.
External links
[edit]![](http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png)
- Jean-Luc Godard at IMDb
- Jean-Luc Godard discography at Discogs
- Cinema=Godard=Cinema – a hub for academic information and discussion about Godard
- Jean-Luc Godard at the Criterion Collection
- Jean Luc Godard Biography at newwavefilm.com
- Jean-luc Godard Timeline
- Detailed filmography of Jean-Luc Godard on unifrance.org
- Jean-Luc Godard at The Guardian Film
- Jean-Luc Godard at The New York Times Movies
- Jean-Luc Godard collected news and commentary at The New York Times
- Publications by and about Jean-Luc Godard in the catalogue Helveticat of the Swiss National Library
- Guardian interview (29 April 2005)
- Video dialog—in French—between Godard and the French writer Stéphane Zagdanski about Literature and Cinema, November 2004
- Interview with Jean-Luc Godard, 1972
- Film catastrophe, the shooting of Film socialisme aboard the Costa Concordia
- List of music used in Jean-Luc Godard movies
- Jean-Luc Godard
- 1930 births
- 2022 deaths
- 2022 suicides
- 20th-century French male actors
- 20th-century French male writers
- 20th-century French screenwriters
- 20th-century Swiss male actors
- 20th-century Swiss writers
- 21st-century French male actors
- 21st-century French male writers
- 21st-century French screenwriters
- 21st-century Swiss male actors
- 21st-century Swiss writers
- Academy Honorary Award recipients
- Anti–Vietnam War activists
- César Honorary Award recipients
- Collage filmmakers
- Counterculture of the 1960s
- Counterculture of the 1970s
- Critical theorists
- Deaths by euthanasia
- Directors of Golden Bear winners
- Directors of Golden Lion winners
- European Film Awards winners (people)
- Existentialists
- Film directors from Paris
- French film production company founders
- Film theorists
- French cinematographers
- French communists
- French experimental filmmakers
- French film critics
- French film editors
- French film producers
- French humanists
- French-language film directors
- French male screenwriters
- French Marxist writers
- French people of Swiss descent
- Georges Delerue Award winners
- Irony theorists
- Literacy and society theorists
- Male actors from Paris
- Mass media theorists
- Media critics
- Metaphor theorists
- Silver Bear for Best Director recipients
- Suicides in Switzerland
- Surrealist filmmakers
- Swiss cinematographers
- Swiss communists
- Swiss film critics
- Swiss film directors
- Swiss film editors
- Swiss male film actors
- Swiss Marxist writers
- Swiss screenwriters
- Swiss writers in French
- Theorists on Western civilization
- University of Paris alumni
- Writers about activism and social change
- Writers from Paris
- Golden Lion for Lifetime Achievement recipients