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

使高興

Gastric

Conditions of Visuality and Materialist Film at the Turn of the Twenty-First Century,tions on representability, irrepresentability and representation, which became the filmmaker’s version of materialist filmmaking for the twenty-first century. For instance, . is an experiment in three dimensions in which Godard plays with various supports of the image to (re)visit the utopian aspect

不足的東西

Conclusion: The Legacy of Militant Filmmaking or How to Rise Above Everything That Is Dying?,nt filmmaking from the 1960s and 1970s. The legacy of Godard’s political filmmaking, however, is very far removed from his post-1970s materialist filmmaking and manifests today in a problematic niche in cultural production termed .. Godard’s materialist filmmaking is a constant search for figures th

聯(lián)想

Irmgard EmmelhainzDispels the myth that Jean Luc Godard‘s work ceased to be concerned with politics after the 1970s.Investigates Godard‘s political filmmaking in the context of Thirdworldism and anti-imperialism.Highli

cogent

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大漩渦

DOSE

The Editor(s) (if applicable) and The Author(s) 2019

放逐某人

extrovert

Technique and Montage: Saying, Seeing and Showing the Invisible,ions to the day, he tries to resituate them in the context of the failure and falling myths and political models of the twentieth century, in a constant search for the figure that will lead history on and the discourses around it.

euphoria

Representing the Unrepresentable: Restitution, Archive, Memory,quished, for the Trojan poets bringing about hope, he vouches for a simple conversation, confronting two points of view as a means to start thinking about guilt and forgiveness, to rebuild the “parmi nous” and absolute derealization of the Other that is destroyed by the war of annihilation.