Histoire(s) du cinéma

Histoire(s) du cinéma

DVD - 2011 | French
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Jean-Luc Godard transformed the face of cinema with his prolific, influential, and revolutionary body of work, which includes such classics as Breathless; Weekend; and Contempt, just to name a few. Consisting of eight episodes made over a period of ten years, this is an extraordinary look at the medium through the eyes of this unique filmmaker. The series covers a wide range of topics, from the birth of cinema to Italian neo-realism to Hollywood and beyond.
Publisher: [United States] : Olive Films, 2011
Branch Call Number: DVD FRENCH 791.43 HISTOIR 2DISCS
Characteristics: 2 videodiscs (266 min.) : sd., col. ; 4 3/4 in
Alternative Title: Histoires du cinéma


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May 22, 2017

Great review. It is difficult to come to terms with the greatness of this in the age of Mark Cousins and Marty Scorsese's similar epic works (which is not to denigrate either). But Godard's perspective is, as always, individual, political, polemical, historical and brilliant....

May 03, 2017

There is no way to really summarize this "history." Most of these mini-narratives or essays are attempts to come to terms with the images relation to life (film images primarily but considerable attention is also given to painting and photography) and most of these mini-narratives or essays are more suggestive of possible and often contradictory meanings than of literal ones. Although sex and death are by far the most iterated themes of this history just as they are the most iterated themes of most histories, it's Godard's artful way of representing these themes (using other people's images) that make them so interesting.
Visually, Godard provides us with a collage of clips from Chaplin, Hitchcock, Rossellini, Vigo, Renoir, Cocteau, and countless other films intermixed with art history stills & all is accompanied by both a musical soundtrack and a poetic "narrative" (sometimes in Godard's voice, sometimes in a kind of Alphaville distorted voice & sometimes the narrative is read by select actresses who perform the narrative as if it were a script they are learning). This multi-media collage is ripe with suggestive juxtapositions but any stable or solid meanings dissolve as quick as each image. In telling these histories, Godard allows himself more than a margin of indefiniteness.


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