In the intervening period, as cinema has mutated, Godard has indeed gone on to experiment with different media, including television and the written word. The important thing is to approach it from the side which suits you best. For there is a clear continuity between all forms of expression. Were the cinema to disappear, I would simply accept the inevitable and turn to television were television to disappear, I would revert to pencil and paper. I think of myself as an essayist, producing essays in novel form or novels in essay form: only instead of writing, I film them. Instead of writing criticism, I make a film, but the critical dimension is subsumed. Today I still think of myself as a critic, and in a sense I am, more than ever before. Or, as he put it in a singularly prescient account of his artistic practice in 1962:Īs a critic, I thought of myself as a filmmaker. ‘Everything is cinema’, as he is fond of saying. Equally striking, however, is the sheer variety of media in which he is now working and the ease with which he moves between them. Finally, he found the time to act in Miéville’s Après la réconciliation (2000) to film and edit Champ contre champ, a contribution to a forthcoming collective cinematic portrait of Paris and, perhaps most intriguingly, to prepare for his much-anticipated gallery installation, Collages de France, due to run at the Pompidou Centre for nine months from October 2005 to June 2006.īeside the unusually wide range of roles often assumed by Godard-entrepreneur, director, performer, scriptwriter, dialogist, editor and publicist-the most memorable qualities of his work are perhaps its poetic density, formal rigour and crystalline intensity.
![cine tracer storyboard is blanc blank cine tracer storyboard is blanc blank](https://s1.manualzz.com/store/data/040138865_1-6cbe62a7e3789a13a5d494adc36d2405.png)
footnote 3 He has also made two feature films: a graphically arresting poetic meditation on war-time resistance, and artistic creation as resistance in the age of spectacle, Éloge de l’amour (2001) and an elegy on war, Notre Musique (2004), which brings together his now familiar found-footage collage practice with a fictional restaging of the European book salon organized annually since 2000 by the André Malraux Cultural Centre in Sarajevo, featuring the participation of writers such as Pierre Bergounioux, Mahmoud Darwish and Juan Goytisolo.
![cine tracer storyboard is blanc blank cine tracer storyboard is blanc blank](https://i1.rgstatic.net/publication/328262669_All_Mirrors_Shattered_Poor_Plastic_Clown_An_examination_of_the_presentation_of_trauma_and_Americana_in_post-911_American_literature/links/5bc1c918458515a7a9e714ef/largepreview.png)
![cine tracer storyboard is blanc blank cine tracer storyboard is blanc blank](https://st2.depositphotos.com/1006472/5915/i/950/depositphotos_59155195-stock-photo-vintage-blank-chalkboard-slate.jpg)
In addition, Godard has published several books of ‘phrases’ derived from his audiovisual productions, reproduced in the form of continuous prose poems, together with a book-length transcription of his dialogue on cinema and history with Youssef Ishaghpour, where he pursues many of the lines of thinking distilled into Histoire(s) du cinéma. Miéville), a playful adaptation of Charles-Ferdinand Ramuz’s 1910 novel Aimé Pache, peintre vaudois, in which the duo deploy Ramuz’s fictional alter-ego, the painter Aimé Pache, to reflect on their own artistic trajectories and the Franco-Swiss dimension to their work. footnote 2 It includes four video essays, all closely related in formal conception while diverse in topic and tone: The Old Place (1999, co-directed by Miéville), a set of dialogic reflections on the state of art at the close of the twentieth century L’Origine du vingt et unième siècle (2000), a chilling personal vision of the birth of the twenty-first century out of the slaughter and trauma of the twentieth Dans le noir du temps (2002), a philosophical evocation of the last moments of youth, courage, thought, memory, love, silence, history, fear, eternity and cinema and Liberté et Patrie (2002, co-dir. Much of this recent work has been made in collaboration with his long-standing companion, the photographer, filmmaker and writer Anne-Marie Miéville.
![cine tracer storyboard is blanc blank cine tracer storyboard is blanc blank](https://static.wixstatic.com/media/9a6378_ae1f2382becd4fad8d0f237e0c59c362~mv2.png)
footnote 1 In the six years since the release of Histoire(s) du cinéma, his eight-part videographic history of cinema, and history of the twentieth century through cinema, he has gone on to produce an astonishing quantity of work in a variety of media, thus confounding those critics who thought his historical project some sort of testament. J ean-Luc Godard, at 73, is one of Europe’s most prolific contemporary artists.