Jean-Luc Godard's Pierrot le Fou / Edition 1

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Overview

Jean-Luc Godard's Pierrot le fou (1965), made at the height of the French New Wave, remains a milestone in French cinema. More accessible than his later films, it represents the diverse facets of Godard's concerns and themes: a bittersweet analysis of male-female relations; an interrogation of the image; personal and international politics; the existential dilemmas of consumer society. This volume brings together essays by five prominent scholars of French film. They approach Pierrot le fou from the perspectives of image-and-word-play, aesthetics and politics, history, and high- and popular culture. A full filmography and a selection of reviews are included.

Contributors:
David Wills, Richard Dienst, Alan Williams, Jean-Louis Leutrat, Tom Conley, Jill Forties

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Product Details

  • ISBN-13: 9780521574891
  • Publisher: Cambridge University Press
  • Publication date: 3/28/2012
  • Series: Cambridge Film Handbooks Series
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 208
  • Product dimensions: 5.98 (w) x 8.98 (h) x 0.47 (d)

Table of Contents

Introduction: oui, bien sûr … oui bien sûr David Wills; 1. The imaginary element: life + cinema Richard Dienst; 2. Pierrot in context(s) Alan Williams; 3. Godard's tricolor Jean-Louis Leutrat; 4. Language gone mad Tom Conley; 5. Pierrot le fou and post-new wave French cinema Jill Forbes.
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  • Anonymous

    Posted May 16, 2002

    Insightful look at great film

    How could anyone explain a movie that attempts to capture the zeitgeist of the sixties? A decade of confusion, contradictions, and the rise of media culture was caught by Godard in this confusing, contradictory, and media-savvy film. Each of the essays in this book focuses on a single aspect of the film (use of color, or of language), attempting to relate it to the whole. The book is enlightening and helps to clarify the movie by placing it in the context of Godard's previous and later films, but it does this without being didactic, without offering complete answers. This leaves the reader (and the viewer) much to think about, and raises questions not only about this film, but cinema in general. Not only does the book contain contemporary essays from film theorists, but also some of the earliest reviews of the film from the French press. These are elegantly translated and the reader will find these useful in establishing a continuum of responses to the movie.

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