Breathless, a low-budget film, came to be regarded as one of the major accomplishments of the French New Wave cinema of the early sixties. It had a tremendous influence on French filmmakers and on world cinema in general. Beyond its significance in film history, it was also a film of considerable cultural impact. In Breathless, Jean-Luc Godard captured the spirit of a disillusioned generation and fashioned a style, which drew on the past, to parade that disillusionment.
In his introduction, Dudley Andrew brilliantly explains what Godard set out to accomplish in Breathless. He illuminates the intertextual and cultural references of the film and the tensions within it between tradition and innovation. This volume also features, for the first time in English, the complete and accurate continuity script of Breathless, together with Francois Truffaut's surprisingly detailed original treatment. Also included are an in-depth selection of reviews and criticism in French and English; a brief biographical sketch of the director's life that covers the development of his career, as well as a filmography and selected bibliography.
Global Cinema Networks
Gorfinkel, Elena Rutgers University Press, 2018 Library of Congress PN1995.G5435 2018 | Dewey Decimal 791.430905
Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection’s esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from “international” to “world” to “transnational” to “global” frames.
Today’s film scholars draw from a dizzying range of theoretical perspectives—they’re just as likely to cite philosopher Gilles Deleuze as they are to quote classic film theorist André Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming.
Thinking in the Dark introduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather than just discussing each theorist’s ideas in the abstract, the book shows how those concepts might be applied when interpreting specific films by including an analysis of both a classic film and a contemporary one. It thus demonstrates how theory can help us better appreciate films from all eras and genres: from Hugo to Vertigo, from City Lights to Sunset Blvd., and from Young Mr. Lincoln to A.I. and Wall-E.
The volume’s contributors are all experts on their chosen theorist’s work and, furthermore, are skilled at explaining that thinker’s key ideas and terms to readers who are not yet familiar with them. Thinking in the Dark is not only a valuable resource for teachers and students of film, it’s also a fun read, one that teaches us all how to view familiar films through new eyes.
Theorists examined in this volume are: Rudolf Arnheim, Béla Balázs, Roland Barthes, André Bazin, Walter Benjamin, Judith Butler, Stanley Cavell, Michel Chion, Gilles Deleuze, Jean Douchet, Sergei Eisenstein, Jean Epstein, Michel Foucault, Siegfried Kracauer, Jacques Lacan, Vachel Lindsay, Christian Metz, Hugo Münsterberg, V. F. Perkins, Jacques Rancière, and Jean Rouch.