One of the most charismatic feature films of the New Wave, A Bout de souffle (1960) has retained its appeal not only as the emphatic statement of a generational break with tradition, but also as Godard's earliest rendition of a set of thematic and stylistic motifs that would become his trademark. A Bout de souffle is now a cult film, propelled in part by the memorable coupling of its leading actors, Jean-Paul Belmondo and Jean Seberg, whose story on screen seemed to portray the troubled love affair between French cinema and Hollywood. In this original guide to the film, Ramona Fotiade analyses in depth its production and reception, as well as its mise-en-scene and editing. She situates A Bout de souffle in relation to Godard's filmography and critical writings up to 1960, focusing on a narrative and visual discourse that is now identified with a distinctive strand in postmodern French cinema. She also explores the impact of Godard's early counter-narrative and visual strategies on the independent American filmmakers and the French Cinema du Look during the 1980s and 1990s.
One of the most charismatic feature films of the New Wave, A Bout de souffle (1960) has retained its appeal not only as the emphatic statement of a generational break with tradition, but also as Godard's earliest rendition of a set of thematic and stylistic motifs that would become his trademark. A Bout de souffle is now a cult film, propelled in part by the memorable coupling of its leading actors, Jean-Paul Belmondo and Jean Seberg, whose story on screen seemed to portray the troubled love affair between French cinema and Hollywood. In this original guide to the film, Ramona Fotiade analyses in depth its production and reception, as well as its mise-en-scene and editing. She situates A Bout de souffle in relation to Godard's filmography and critical writings up to 1960, focusing on a narrative and visual discourse that is now identified with a distinctive strand in postmodern French cinema. She also explores the impact of Godard's early counter-narrative and visual strategies on the independent American filmmakers and the French Cinema du Look during the 1980s and 1990s.
Pictures of the Mind is the first integrated study of Surrealist photography and film, assessing the impact of early experimental practice and theoretical discourse on prominent post-war trends in art house cinema. Roland Barthes's interpretation of the photographic image, alongside Jacques Derrida's concepts of spectrality and trace, underscore an exploration of the recurrent references to the phantomatic aspect of photography and film in Surrealist theoretical writings and practice. The analysis uses Derrida's account of the uncanny to shed light on the Surrealist conception of photographic and film images as mental constructs, or pictures of the mind, rather than mere visual representations. This leads to a consideration of the similarities between the Surrealist conception of beauty as fixed-explosive and Gilles Deleuze's theory of the time-image as applied to Luis Bu uel's films. Ultimately, the impact of Surrealism on post-war cinema is assessed as part of a wider consideration of the status of photographic and filmic images in the age of digital cinema. The elaboration of an aesthetics of spectrality in early Surrealism is shown to have had lasting implications for a range of post-war filmmakers such as Chris Marker, Maya Deren, Nelly Kaplan, Federico Fellini, Andrei Tarkovsky, Jan Svankmajer, Akira Kurosawa, Alejandro Jodorowsky, Guillermo del Toro, Guy Maddin, Terry Gilliam and David Lynch.
Peter Lang Limited, International Academic Publishers
Published Date
ISBN 10
3039111299
ISBN 13
9783039111299
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