Titlebook: Jean-Luc Godard’s Political Filmmaking; Irmgard Emmelhainz Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 Militant cinema.

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书目名称Jean-Luc Godard’s Political Filmmaking影响因子(影响力)




书目名称Jean-Luc Godard’s Political Filmmaking影响因子(影响力)学科排名




书目名称Jean-Luc Godard’s Political Filmmaking网络公开度




书目名称Jean-Luc Godard’s Political Filmmaking网络公开度学科排名




书目名称Jean-Luc Godard’s Political Filmmaking被引频次




书目名称Jean-Luc Godard’s Political Filmmaking被引频次学科排名




书目名称Jean-Luc Godard’s Political Filmmaking年度引用




书目名称Jean-Luc Godard’s Political Filmmaking年度引用学科排名




书目名称Jean-Luc Godard’s Political Filmmaking读者反馈




书目名称Jean-Luc Godard’s Political Filmmaking读者反馈学科排名

Cirrhosis

: Dialogue of Points of View: Jean-Luc Godard and ,ossible to account for one’s position as an external observer? Finally, both Godard and Antonioni tackled the problem of “objectivity” in relationship to objectivity and the circulation of images of conflict “elsewhere” in the mass media.

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迅速飞过

数量

,Who Speaks ,? Jean-Luc Godard’s ‘Militant Filmmaking’ (1967–74),e as analogous to the class struggle. Two questions that persist in the DVG’s films and that are asked in an array of experimental forms relate first to the representability of the political struggle and indignation, and second, to the authority of the voice of the filmmaker as the harbinger of political change.

Lineage

Book 2019 dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin.

凶猛

debacle

领带

: Dialogue of Points of View: Jean-Luc Godard and , the Palestinian Liberation Organization. Drawing a genealogy of Western intellectuals’ engagement with Third World struggles, I posit anxiety of blindness and the fear of blind naïve identification as the key issues Godard grappled with as he completed the film as . in 1974 in collaboration with An

ADAGE

Technique and Montage: Saying, Seeing and Showing the Invisible,to experiment with Anne-Marie Miéville about the means to bring about socio-political change within the framework “journalism of the audiovisual” that implied an “epistemology of seeing.” In this chapter, I analyze Godard’s concept of the “trademark image” in relationship to his embryonic experiment