Jean-Luc Godard

Jean-Luc Godard (UK: /ˈɡɒdɑːr/ GOD-ar, US: /ɡoʊˈdɑːr/

goh-DAR; French:   [ʒɑ̃ lyk ɡɔdaʁ]; 3 December 1930   – 13 Jean-Luc Godard
September 2022) was a French-Swiss film director,
screenwriter, and film critic. He rose to prominence as a
pioneer of the 1960s French New Wave film movement[1] and
was arguably the most influential French filmmaker of the post-
war era.[2] According to AllMovie, his work "revolutionized
the motion picture form" through its experimentation with
narrative, continuity, sound, and camerawork.[2]

During his early career as a film critic for the influential

magazine Cahiers du Cinéma, Godard criticized mainstream
French cinema's "Tradition of Quality",[1] which emphasized
established convention over innovation and experimentation.[3]
In response, he and like-minded critics began to make their
own films,[1] challenging the conventions of traditional
Hollywood in addition to French cinema.[4] Godard first
received global acclaim for his 1960 feature Breathless, helping Godard in 1968
to establish the New Wave movement.[2] His work makes use Born 3 December 1930
of frequent homages and references to film history, and often Paris, France
expressed his political views; he was an avid reader of
Died 13 September 2022
existentialism and Marxist philosophy.[5][6] After the New
(aged 91)
Wave, his politics were less radical and his later films are about
representation and human conflict from a humanist and Rolle, Switzerland
Marxist perspective.[5] Nationality French · Swiss
Occupation Filmmaker · film
In a 2002 Sight & Sound poll, Godard ranked third in the
critic
critics' top ten directors of all time.[7] He is said to have
"created one of the largest bodies of critical analysis of any Years active 1950–2022
filmmaker since the mid-twentieth century."[8] His work has Notable work Breathless ·
been central to narrative theory and have "challenged both My Life to Live ·
commercial narrative cinema norms and film criticism's Contempt ·
vocabulary."[9] In 2010, Godard was awarded an Academy Pierrot le Fou ·
Honorary Award, but did not attend the award ceremony.[10] A Woman Is a Woman
·
Godard was married twice, to actresses Anna Karina and Anne
Wiazemsky, both of whom starred in several of his films. His Histoire(s) du cinéma
collaborations with Karina—which included such critically Movement French New Wave
acclaimed films as Vivre sa vie (1962), Bande à part (1964), Spouses Anna Karina
and Pierrot le Fou (1965)—were called "arguably the most
(m. 1961; div. 1965)
influential body of work in the history of cinema" by
Filmmaker magazine.[11]
 Anne Wiazemsky
(m. 1967; div. 1979)
Contents
Partner Anne-Marie Miéville
Early life (from 1978)
Early career (1950–1959) Relatives Pedro Pablo
Film criticism Kuczynski (cousin)
Filmmaking Alex Kuczynski
New Wave period (1960–1967) (cousin once
Films removed)
Breathless Awards Golden Lion (1983)
Anna Karina and A Woman Is a Woman Golden Bear (1965)
My Life to Live
Honorary Academy
The Little Soldier and Les Carabiniers Award (2010)
Contempt Honorary César
Anouchka Films (1987, 1998)
Week End Prix Jean Vigo (1960)
Politics
Signature
Vietnam War
Bertolt Brecht
Marxism
Revolutionary period (1968–1979)
Films
Sonimage
Jean-Pierre Gorin
Dziga Vertov Group
Later career: 1980–2022
Legacy
Personal life and death
Selected filmography
Collaboration with ECM Records
See also
References
Cited and general references and further
reading
External links

Early life
Jean-Luc Godard was born on 3 December 1930[12] in the 7th arrondissement of Paris,[13] the son of Odile
(née Monod) and Paul Godard, a Swiss physician.[14] His wealthy parents came from Protestant families of
Franco–Swiss descent, and his mother was the daughter of Julien Monod, a founder of the Banque Paribas.
She was the great-granddaughter of theologian Adolphe Monod. Other relatives on his mother's side include
composer Jacques-Louis Monod, naturalist Théodore Monod, pastor Frédéric Monod, and former Prime
Minister and later President of Peru Pedro Pablo Kuczynski.[15][16] Four years after Jean-Luc's birth, his
father moved the family to Switzerland. At the outbreak of the Second World War, Godard was in France, and
returned to Switzerland with difficulty.[17] He spent most of the war in Switzerland, although his family made
clandestine trips to his grandfather's estate on the French side of Lake Geneva. Godard attended school in
Nyon, Switzerland.[18][19]

Not a frequent cinema-goer, he attributed his introduction to cinema to a reading of André Malraux's essay
Outline of a Psychology of Cinema, and his reading of La Revue du cinéma, which was relaunched in
1946.[20] In 1946, he went to study at the Lycée Buffon in Paris and, through family connections, mixed with
members of its cultural elite. He lodged with the writer Jean Schlumberger. Having failed his baccalauréat
exam in 1948 he returned to Switzerland. He studied in Lausanne and lived with his parents, whose marriage
was breaking up. He spent time in Geneva also with a group that included another film fanatic, Roland
Tolmatchoff, and the extreme rightist philosopher Jean Parvulesco. His elder sister Rachel encouraged him to
paint, which he did, in an abstract style. After time spent at a boarding school in Thonon to prepare for the
retest, which he passed, he returned to Paris in 1949.[21] He registered for a certificate in anthropology at the
University of Paris (Sorbonne), but did not attend class.[22]

Early career (1950–1959)

Film criticism
In Paris, in the Latin Quarter just prior to 1950, ciné-clubs (film societies) were gaining prominence. Godard
began attending these clubs—the Cinémathèque Française, Ciné-Club du Quartier Latin (CCQL), Work and
Culture ciné club, and others—which became his regular haunts. The Cinémathèque had been founded by
Henri Langlois and Georges Franju in 1936; Work and Culture was a workers' education group for which
André Bazin had organized wartime film screenings and discussions and which had become a model for the
film clubs that had risen throughout France after the Liberation; CCQL, founded in about 1947 or 1948, was
animated and intellectually led by Maurice Schérer.[23] At these clubs he met fellow film enthusiasts
including Jacques Rivette, Claude Chabrol, and François Truffaut.[24] Godard was part of a generation for
whom cinema took on a special importance. He said: "In the 1950s cinema was as important as bread—but it
isn't the case any more. We thought cinema would assert itself as an instrument of knowledge, a microscope...
a telescope.... At the Cinémathèque I discovered a world which nobody had spoken to me about. They'd told
us about Goethe, but not Dreyer. ... We watched silent films in the era of talkies. We dreamed about film. We
were like Christians in the catacombs."[25][26]

His foray into films began in the field of criticism. Along with Maurice Schérer (writing under the to-be-
famous pseudonym Éric Rohmer) and Jacques Rivette, he founded the short-lived film journal La Gazette du
cinéma, which saw publication of five issues in 1950.[27] When Bazin co-founded the influential critical
magazine Cahiers du Cinéma in 1951, Godard was the first of the younger critics from the
CCQL/Cinémathèque group to be published.[28] The January 1952 issue featured his review of an American
melodrama directed by Rudolph Maté, No Sad Songs for Me.[29] His "Defence and Illustration of Classical
Découpage" published in September 1952, in which he attacks an earlier article by Bazin and defends the use
of the shot–reverse shot technique, is one of his earliest important contributions to cinema criticism.[30]
Praising Otto Preminger and "the greatest American artist—Howard Hawks", Godard raises their harsh
melodramas above the more "formalistic and overtly artful films of Welles, De Sica, and Wyler which Bazin
endorsed".[31] At this point Godard's activities did not include making films. Rather, he watched films, and
wrote about them, and helped others make films, notably Rohmer, with whom he worked on Présentation ou
Charlotte et son steak.[32]

Filmmaking
Having left Paris in the autumn of 1952, Godard returned to Switzerland and went to live with his mother in
Lausanne. He became friendly with his mother's lover, Jean-Pierre Laubscher, who was a labourer on the
Grande Dixence Dam. Through Laubscher he secured work himself as a construction worker at the Plaz
Fleuri work site at the dam. He saw the possibility of making a documentary film about the dam; when his
initial contract ended, in order to prolong his time at the dam, he moved to the post of telephone switchboard
operator. Whilst on duty, in April 1954, he put through a call to Laubscher which relayed the fact that Odile
Monod, Godard's mother, had died in a scooter accident. Thanks to Swiss friends who lent him a 35 mm
movie camera, he was able to shoot on 35mm film. He rewrote the commentary that Laubscher had written,
and gave his film a rhyming title Opération béton (Operation Concrete). The company that administered the
dam bought the film and used it for publicity purposes.[33]

As he continued to work for Cahiers, he made Une femme coquette (1955), a 10-minute short, in Geneva; and
in January 1956 he returned to Paris. A plan for a feature film of Goethe's Elective Affinities proved too
ambitious and came to nothing. Truffaut enlisted his help to work on an idea he had for a film based on the
true-crime story of a petty criminal, Michel Portail, who had shot a motorcycle policeman and whose
girlfriend had turned him in to the police, but Truffaut failed to interest any producers. Another project with
Truffaut, a comedy about a country girl arriving in Paris, was also abandoned.[34] He worked with Rohmer on
a planned series of short films centering on the lives of two young women, Charlotte and Véronique; and in
the autumn of 1957, Pierre Braunberger produced the first film in the series, All the Boys Are Called Patrick,
directed by Godard from Rohmer's script. A Story of Water (1958) was created largely out of unused footage
shot by Truffaut. In 1958, Godard, with a cast that included Jean-Paul Belmondo and Anne Colette, made his
last short before gaining international prominence as a filmmaker, Charlotte et son Jules, an homage to Jean
Cocteau. The film was shot in Godard's hotel room on the rue de Rennes and apparently reflected something
of the 'romantic austerity' of Godard's own life at this time. His Swiss friend Roland Tolmatchoff noted; "In
Paris he had a big Bogart poster on the wall and nothing else."[35] In December 1958, Godard reported from
the Festival of Short Films in Tours and praised the work of, and became friends with, Jacques Demy,
Jacques Rozier, and Agnès Varda—he already knew Alain Resnais whose entry he praised—but Godard now
wanted to make a feature film. He travelled to the 1959 Cannes Film Festival and asked Truffaut to let him
use the story on which they had collaborated in 1956, about car thief Michel Portail. He sought money from
producer Georges de Beauregard, whom he had met previously whilst working briefly in the publicity
department of Twentieth Century Fox's Paris office, and who was also at the Festival. Beauregard could offer
his expertise, but was in debt from two productions based on Pierre Loti stories; hence, financing came
instead from a film distributor, René Pignières.[36]

New Wave period (1960–1967)

Godard's most celebrated period as a director spans roughly from his first feature, Breathless (1960), through
to Week End (1967). His work during this period focused on relatively conventional films that often refer to
different aspects of film history. Although Godard's work during this time is considered groundbreaking in its
own right, the period stands in contrast to that which immediately followed it, during which Godard
ideologically denounced much of cinema's history as bourgeois and therefore without merit.[37]

Films

Breathless

Godard's Breathless (À bout de souffle, 1960), starring Jean-Paul Belmondo and Jean Seberg distinctly
expressed the French New Wave's style, and incorporated quotations from several elements of popular culture
—specifically American film noir. The film employed various techniques such as the innovative use of jump
cuts (which were traditionally considered amateurish), character asides, and breaking the eyeline match in
continuity editing.[38][39] Another unique aspect of Breathless was the spontaneously writing of the script on
the day of shooting—a technique that the actors found unsettling—which contribute to the spontaneous,
documentary-like ambience of the film.[40]

From the beginning of his career, Godard included more film references in his movies than did any of his
New Wave colleagues. In Breathless, his citations include a movie poster showing Humphrey Bogart—from
The Harder They Fall, his last film[41] (whose expression the lead actor Jean-Paul Belmondo tries reverently
to imitate)—visual quotations from films of Ingmar Bergman, Samuel Fuller, Fritz Lang, and others; and an
onscreen dedication to Monogram Pictures,[42] an American B-movie studio. Quotations from, and
references to literature, include William Faulkner, Dylan Thomas, Louis Aragon, Rilke, Françoise Sagan, and
Maurice Sachs. The film also contains citations in images or on the soundtrack—Mozart, Picasso, J. S. Bach,
Paul Klee, and Auguste Renoir. "This first-person cinema invoked not the director's experience but his
presence".[43]

Godard wanted to hire the American actress Jean Seberg, who was living in Paris with her husband François
Moreuil, a lawyer, to play the American woman. Seberg had become famous in 1956 when Otto Preminger
had chosen her to play Joan of Arc in his Saint Joan, and had then cast her in his acidulous 1958 adaptation
of Bonjour Tristesse.[44] Her performance in this film had not been generally regarded as a success—The
New York Times's critic called her a "misplaced amateur"—but Truffaut and Godard disagreed. In the role of
Michel Poiccard, Godard cast Belmondo, an actor he had already called, writing in Arts in 1958, "the Michel
Simon and the Jules Berry of tomorrow."[45] The cameraman was Raoul Coutard, choice of the producer
Beauregard. Godard wanted Breathless to be shot like a documentary, with a lightweight handheld camera
and a minimum of added lighting; Coutard had had experience as a documentary cameraman whilst working
for the French army's information service in Indochina during the French-Indochina War. Tracking shots were
filmed by Coutard from a wheelchair pushed by Godard. Though Godard had prepared a traditional
screenplay, he dispensed with it and wrote the dialogue day by day as the production went ahead.[46] The
film's importance was recognized immediately, and in January 1960 Godard won the Jean Vigo Prize,
awarded "to encourage an auteur of the future". One reviewer mentioned Alexandre Astruc's prophecy of the
age of the caméra-stylo, the camera that a new generation would use with the efficacy with which a writer
uses his pen—"here is in fact the first work authentically written with a caméra-stylo ".[47]

Anna Karina and A Woman Is a Woman

In 1960 Godard shot Le petit soldat (The Little Soldier), Michel Subor, and Veronica Dreyer by Anna Karina,
the first time Godard worked with her, his future wife. Unlike Seberg, Karina had virtually no experience as
an actress and Godard used her awkwardness as an element of her performance. He wrote the dialogue every
day and, since it was filmed without direct sound and was dubbed, called dialogue to the actors. Forestier was
a character close to Godard himself, an image-maker and intellectual,
'more or less my spokesman, but not totally' Godard told an
interviewer.[48] The film, due to its political nature, was banned by the
French government for the next two years.[49]

Godard and Karina were a couple by the end of the shoot, and she
appeared again, along with Belmondo, in Godard's first color film, A
Woman Is a Woman (1961), their first project to be released. The film
was intended as a homage to the American musical. Adjustments that Anna Karina, having rejected a
Godard made to the original version of the story gave it role in Breathless, appeared in
autobiographical resonances, "specifically in regard to his relationship Godard's next film Le petit
with Anna Karina". The film revealed "the confinement within the soldat (The Little Soldier), which
four walls of domestic life" and "the emotional and artistic fault lines concerned France's war in
that threatened their relationship".[50] Algeria

My Life to Live

Godard's next film, Vivre sa vie (My Life to Live, 1962), was one of his most popular among critics. Karina
starred as Nana, an errant mother and aspiring actress whose financially strained circumstances lead her to
the life of a streetwalker. It is an episodic account of her rationalizations to prove she is free, even though she
is tethered at the end of her pimp's short leash. In one scene, within a cafe, she spreads her arms out and
announces she is free to raise or lower them as she wishes.[51]

The film was a popular success and led to Columbia Pictures giving him a deal where he would be provided
with $100,000 to make a movie, with complete artistic control.[51]

The Little Soldier and Les Carabiniers

By 1963, Le petit soldat was released, the first of three films he released that year. The film begins on 13 May
1958, the date of the attempted putsch in Algeria, and ends later the same month. In the film, Bruno
Forestier, a photojournalist who has links with a right-wing paramilitary group working for the French
government, is ordered to murder a professor accused of aiding the Algerian resistance. He is in love with
Veronica Dreyer, a young woman who has worked with the Algerian fighters. He is captured by Algerian
militants and tortured. His organisation captures and tortures her.[52][53]

His following film was Les Carabiniers, based on a story by Roberto Rossellini, one of Godard's
influences.[54] The film follows two peasants who join the army of a king, only to find futility in the whole
thing as the king reveals the deception of war-administrating leaders.

Contempt

His final film of 1963 and the most commercially successful film of his career was Le Mépris (Contempt),
starring Michel Piccoli and one of France's biggest female stars, Brigitte Bardot.[55][56] The film follows Paul
(Piccoli), a screenwriter who is commissioned by Prokosch (Jack Palance), an arrogant American movie
producer, to rewrite the script for an adaptation of Homer's Odyssey, which the Austrian director Fritz Lang
has been filming. Lang's 'high culture' interpretation of the story is lost on Prokosch, whose character is a firm
indictment of the commercial motion picture hierarchy.[57]
Anouchka Films

In 1964, Godard and Karina formed a production company, Anouchka Films.[58] He directed Bande à part
(Band of Outsiders), another collaboration between the two and described by him as "Alice in Wonderland
meets Franz Kafka."[59] It follows two young men, looking to score on a heist, who both fall in love with
Karina, and quotes from several gangster film conventions.[60][59] While promoting the film, Godard wrote
that according to D. W. Griffith, all one needs to make a film is “a girl and a gun.”[61]

Une femme mariée (A Married Woman, 1964) followed Band of Outsiders. It was a slow, deliberate, toned-
down black-and-white picture without a real story. The film was shot in four weeks[62] and was "an explicitly
and stringently modernist film". It showed Godard's "engagement with the most advanced thinking of the day,
as expressed in the work of Claude Lévi-Strauss and Roland Barthes" and its fragmentation and abstraction
reflected also "his loss of faith in the familiar Hollywood styles."[63] Godard made the film during the
planning phase for Pierrot le Fou (1965).[64]

In 1965, Godard directed Alphaville, a futuristic blend of science fiction, film noir, and satire.[65] Eddie
Constantine starred as Lemmy Caution, a detective who is sent into a city controlled by a giant computer
named Alpha 60. His mission is to make contact with Professor von Braun (Howard Vernon), a famous
scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer.[66][67] His next
film was Pierrot le Fou (1965). Gilles Jacob, an author, critic, and president of the Cannes Film Festival,
called it both a "retrospective" and recapitulation.[68] He solicited the participation of Jean-Paul Belmondo,
by then a famous actor, in order to guarantee the necessary amount of funding for the expensive film.[69]
Godard said the film was "connected with the violence and loneliness that lie so close to happiness today. It's
very much a film about France."[70]

Masculin Féminin (1966), based on two Guy de Maupassant stories, La Femme de Paul and Le Signe, was a
study of contemporary French youth and their involvement with cultural politics. An intertitle refers to the
characters as "The children of Marx and Coca-Cola." Although Godard's cinema is sometimes thought to
depict a wholly masculine point of view, Phillip John Usher has demonstrated how the film, by the way it
connects images and disparate events, seems to blur gender lines.[71]

Godard followed with Made in U.S.A (1966), the source material for which was Richard Stark's The Jugger.
A classic New Wave crime thriller, it was inspired by American Noir films. Anna Karina stars as the anti-
hero searching for her murdered lover and the film includes a cameo by Marianne Faithfull.[72][73] A year
later came Two or Three Things I Know About Her (1967), in which Marina Vlady portrays a woman leading
a double life as housewife and prostitute, considered to be "among the greatest achievements in
filmmaking."[74]

La Chinoise (1967) saw Godard at his most politically forthright so far. The film focused on a group of
students and engaged with the ideas coming out of the student activist groups in contemporary France.
Released just before the May 1968 events, the film is thought by some to have foreshadowed the student
rebellions that took place.[75][76]

Week End

That same year, Godard made a more colorful and political film, Week End. It follows a Parisian couple as
they leave on a weekend trip across the French countryside to collect an inheritance. What ensues is a
confrontation with the tragic flaws of the over-consuming bourgeoisie. The film contains an eight-minute
tracking shot of the couple stuck in an unremitting traffic jam as they leave the city, cited as a technique
Godard used to deconstruct bourgeois trends.[77] Startlingly, a few shots contain extra footage from, as it
were, before the beginning of the take (while the actors are preparing) and after the end of the take (while the
actors are coming out of character). Week End's enigmatic and audacious end title sequence, which reads
"End of Cinema", appropriately marked an end to the narrative and cinematic period in Godard's filmmaking
career.[78]

Politics
Godard was known for his "highly political voice", and regularly featuring political content in his films.
[79][80] One of his earliest features, Le petit soldat, which dealt with the Algerian War of Independence, was
notable for its attempt to present the complexity of the dispute; the film was perceived as equivocating and as
drawing a "moral equivalence" between the French forces and the National Liberation Front.[81] Along these
lines, Les Carabiniers presents a fictional war that is initially romanticized in the way its characters approach
their service, but becomes a stiff anti-war metonym.[82] In addition to the international conflicts to which
Godard sought an artistic response, he was also very concerned with the social problems in France. The
earliest and best example of this is Karina's potent portrayal of a prostitute in Vivre sa vie.[37][83][84] In 1960s
Paris, the political milieu was not overwhelmed by one specific movement. There was, however, a distinct
post-war climate shaped by various international conflicts such as the colonialism in North Africa and
Southeast Asia. Godard's Marxist disposition did not become abundantly explicit until La Chinoise and Week
End, but is evident in several films—namely Pierrot and Une femme mariée.[37][85]

Godard was accused by some of harboring anti-Semitic views: in 2010, in the lead-up to the presentation of
Godard's honorary Oscar, a prominent article in The New York Times by Michael Cieply drew attention to the
idea, which had been circulating through the press in previous weeks, that Godard might be an anti-Semite,
and thus undeserving of the accolade. Cieply makes reference to Richard Brody's book Everything is
Cinema: The Working Life of Jean-Luc Godard, and alluded to a previous, longer article published by the
Jewish Journal as lying near the origin of the debate.[86] The article also draws upon Brody's book, for
example in the following quotation, which Godard made on television in 1981: "Moses is my principal
enemy...Moses, when he received the commandments, he saw images and translated them. Then he brought
the texts, he didn't show what he had seen. That's why the Jewish people are accursed."[87]

Immediately after Cieply's article was published, Brody made a clear point of criticizing the "extremely
selective and narrow use" of passages in his book, and noted that Godard's work approached the Holocaust
with "the greatest moral seriousness".[88] Indeed, his documentaries feature images from the Holocaust in a
context suggesting he considers Nazism and the Holocaust as the nadir of human history. Godard's views
become more complex regarding the State of Israel. In 1970, Godard travelled to the Middle East to make a
pro-Palestinian film he didn't complete and whose footage eventually became part of the 1976 film Ici et
ailleurs. In this film, Godard seems to view the Palestinians' cause as one of many worldwide Leftist
revolutionary movements. Elsewhere, Godard explicitly identified himself as an anti-Zionist but denied the
accusations of anti-Semitism.[89]

Vietnam War

Godard produced several pieces that directly address the Vietnam War. Furthermore, there are two scenes in
Pierrot le fou that tackle the issue. The first is a scene that takes place in the initial car ride between
Ferdinand (Belmondo) and Marianne (Karina). Over the car radio, the two hear the message "garrison
massacred by the Viet Cong who lost 115 men". Marianne responds with an extended musing on the way the
radio dehumanizes the Northern Vietnamese combatants.[90] The war is present throughout the film in
mentions, allusions, and depictions in newsreel footage, and the film's style was affected by Godard's political
anger at the war, upsetting his ability to draw from earlier cinematic styles.[91]

Notably, he also participated in Loin du Vietnam (1967). An anti-war project, it consists of seven sketches
directed by Godard (who used stock footage from La Chinoise), Claude Lelouch, Joris Ivens, William Klein,
Chris Marker, Alain Resnais, and Agnès Varda.[92][93]

Bertolt Brecht
Godard's engagement with German poet and playwright Bertolt Brecht stems primarily from his attempt to
transpose Brecht's theory of epic theatre and its prospect of alienating the viewer (Verfremdungseffekt)
through a radical separation of the elements of the medium (theatre in Brecht's case, but in Godard's, film).
Brecht's influence is keenly felt through much of Godard's work, particularly before 1980, when Godard used
cinematic expression for specific political ends.[37][94]

For example, Breathless's elliptical editing, which denies the viewer a fluid narrative typical of mainstream
cinema, forces the viewers to take on more critical roles, connecting the pieces themselves and coming away
with more investment in the work's content.[95] In many of his most political pieces, specifically Week-end,
Pierrot le Fou, and La Chinoise, characters address the audience with thoughts, feelings, and instructions.[37]

Marxism
A Marxist reading is possible with most if not all of Godard's early work. Godard's direct interaction with
Marxism does not become explicitly apparent, however, until Week End, where the name Karl Marx is cited
in conjunction with figures such as Jesus Christ. A constant refrain throughout Godard's cinematic period is
that of the bourgeoisie's consumerism, the commodification of daily life and activity, and man's alienation—
all central features of Marx's critique of capitalism.[5]

In an essay on Godard, philosopher and aesthetics scholar Jacques Rancière states, "When in Pierrot le fou,
1965, a film without a clear political message, Belmondo played on the word 'scandal' and the 'freedom' that
the Scandal girdle supposedly offered women, the context of a Marxist critique of commodification, of pop
art derision at consumerism, and of a feminist denunciation of women's false 'liberation', was enough to
foster a dialectical reading of the joke and the whole story." The way Godard treated politics in his cinematic
period was in the context of a joke, a piece of art, or a relationship, presented to be used as tools of reference,
romanticizing the Marxist rhetoric, rather than being solely tools of education.[96]

Une femme mariée is also structured around Marx's concept of commodity fetishism. Godard once said that it
is "a film in which individuals are considered as things, in which chases in a taxi alternate with ethological
interviews, in which the spectacle of life is intermingled with its analysis". He was very conscious of the way
he wished to portray the human being. His efforts are overtly characteristic of Marx, who in his Economic
and Philosophical Manuscripts of 1844 (https://www.marxists.org/archive/marx/works/1844/manuscripts/pre
face.htm) gives one of his most nuanced elaborations, analyzing how the worker is alienated from his product,
the object of his productive activity. Georges Sadoul, in his short rumination on the film, describes it as a
"sociological study of the alienation of the modern woman".[97]

Revolutionary period (1968–1979)

The period that spans from May 1968 into the 1970s has been given various labels—from his "militant"
period, to his "radical" period, along with terms as specific as "Maoist" and as vague as "political". In any
case, the period saw Godard employ a consistent revolutionary rhetoric in his films and in his public
statements.[98][37]

Inspired by the May 68 upheaval, Godard, alongside François Truffaut, led protests that shut down the 1968
Cannes Film Festival in solidarity with the students and workers. Godard stated there was not a single film
showing at the festival that represented their causes. "Not one, whether by Milos [Forman], myself, [Roman]
Polanski or François. There are none. We're behind the times."[99]

Films
Amid the upheavals of the late 1960s, Godard became passionate about "making political films politically."
Though many of his films from 1968 to 1972 are feature-length films, they are low-budget and challenge the
notion of what a film can be. In addition to abandoning mainstream filmmaking, Godard also tried to escape
the cult of personality that had formed around him. He worked anonymously in collaboration with other
filmmakers, most notably Jean-Pierre Gorin, with whom he formed the Dziga-Vertov cinema collective.
During this period Godard made films in England, Italy, Czechoslovakia, Palestine and America, as well as
France. He and Gorin toured with their work, attempting to create discussion, mainly on college campuses.
This period came to a climax with the big-budget production Tout Va Bien, which starred Yves Montand and
Jane Fonda. Owing to a motorcycle accident that severely incapacitated Godard, Gorin ended up directing
this most celebrated of their work together almost single-handedly. As a companion piece to Tout va bien, the
pair made Letter to Jane, a 50-minute "examination of a still" showing Jane Fonda visiting with the Viet
Cong during the Vietnam War. The film is a deconstruction of Western imperialist ideology. This was the last
film that Godard and Gorin made together.[98]

In 1978 Godard was commissioned by the Mozambican government to make a short film. During this time
his experience with Kodak film led him to criticize the film stock as "inherently racist" since it did not reflect
the variety, nuance or complexity in dark brown or dark skin. This was because Kodak Shirley cards were
only made for Caucasian subjects, a problem that was not rectified until 1995.[100]

Sonimage

In 1972, Godard and his life partner, Swiss filmmaker, Anne-Marie Miéville started the alternative video
production and distribution company Sonimage, based in Grenoble. Under Sonimage, Godard produced
Comment ca va, Numéro Deux (1975) and Sauve qui peut (la vie) (1980).[101] In 1976, Godard and Miéville,
his wife, collaborated on a series of innovative video works for European broadcast television, titled Six fois
deux/Sur et sous la communication (1976) and France/tour/détour/deux/enfants (1978).[102] Since Godard
returned to mainstream filmmaking in 1980, Anne-Marie Miéville remained an important collaborator.[101]

Jean-Pierre Gorin
After the events of May 1968, when the city of Paris saw total upheaval in response to the "authoritarian de
Gaulle", and Godard's professional objective was reconsidered, he began to collaborate with like-minded
individuals in the filmmaking arena. The most notable collaborator was Jean-Pierre Gorin, a Maoist student
of Louis Althusser, Michel Foucault, and Jacques Lacan (who later became professor of Film Studies at the
University of California at San Diego), with a passion for cinema that attracted Godard's attention.[98]
Between 1968 and 1973, Godard and Gorin collaborated to make a total of five films with strong Maoist
messages. The most prominent film from the collaboration was Tout Va Bien (1972). The film starred Jane
Fonda, who was, at the time, the wife of French filmmaker Roger Vadim. Fonda was at the height of her
acting career, having won an Academy Award for her performance in Klute (1971), and having gained
notoriety as a left-wing anti-war activist. The male lead was the legendary French singer and actor Yves
Montand, who had appeared in prestigious films by Georges Clouzot, Alain Résnais, Sacha Guitry, Vincente
Minelli, George Cukor and Costa-Gavras.[98]

Dziga Vertov Group

The small group of Maoists that Godard had brought together, which included Gorin, adopted the name
Dziga Vertov Group. Godard had a specific interest in Dziga Vertov, a Soviet filmmaker—who was known for
a series of radical documentaries titled "Kino Pravda" (literally, "film truth") and the late silent-era feature
film Man with a Movie Camera (1929). Vertov was also a contemporary of both Soviet montage theorists,
notably Sergei Eisenstein, and Russian constructivist and avant-garde artists such as Alexander Rodchenko
and Vladimir Tatlin. Part of Godard's political shift after May 1968 was toward a proactive participation in
the class struggle and he drew inspiration from filmmakers associated with the Russian Revolution.[103]

Towards the end of this period of his life, Godard began to feel disappointed with his Maoist ideals and was
abandoned by his wife at the time, Anne Wiazemsky. In this context, according to biographer Antoine de
Baecque, Godard attempted suicide on two occasions.[104]

Later career: 1980–2022

Godard returned to somewhat more traditional fiction with Sauve qui peut (la vie) (1980), the first of a series
of more mainstream films marked by autobiographical currents: it was followed by Passion, Lettre à Freddy
Buache (both 1982), Prénom Carmen (1983), and Grandeur et décadence d'un petit commerce de cinéma
(1986). There was, though, another flurry of controversy with Je vous salue, Marie (1985), which was
condemned by the Catholic Church for alleged heresy, and also with King Lear (1987), an essay film on
William Shakespeare and language. Also completed in 1987 was a segment in the film Aria which was based
loosely from the plot of Armide; it is set in a gym and uses several arias by Jean-Baptiste Lully from his
famous Armide.[98]

His later films were marked by great formal beauty and frequently a sense of requiem: Nouvelle Vague (New
Wave, 1990), the autobiographical JLG/JLG, autoportrait de décembre (JLG/JLG: Self-Portrait in
December, 1995), and For Ever Mozart (1996).[105][106][107] Allemagne année 90 neuf zéro (Germany Year
90 Nine Zero, 1991) is a quasi-sequel to Alphaville, but done with an elegiac tone and focus on the inevitable
decay of age.[108]

In 1990, Godard was presented with a special award from the National Society of Film Critics.[109] Between
1988 and 1998, he produced the multi-part series Histoire(s) du cinéma, a monumental project which
combined all the innovations of his video work with a passionate engagement in the issues of twentieth-
century history and the history of film itself.[37]

In 2001, Éloge de l'amour (In Praise of Love) was released. The film is notable for its use of both film and
video—the first half captured in 35   mm black and white, the latter half shot in color on DV—and
subsequently transferred to film for editing.[110] The film is also noted for containing themes of ageing, love,
separation, and rediscovery as it follows the young artist Edgar in his contemplation of a new work on the
four stages of love.[111]

In Notre musique (2004), Godard turned his focus to war, specifically, the war in Sarajevo, but with attention
to all war, including the American Civil War, the war between the US and Native Americans, and the Israeli–
Palestinian conflict.[112][113] The film is structured into three Dantean kingdoms: Hell, Purgatory and
Paradise.[112] Godard's fascination with paradox is constant in the film. It opens with a long, ponderous
montage of war images that occasionally lapses into the comic; Paradise is shown as a lush wooded beach
patrolled by US Marines.[114][112]

Godard's film Film Socialisme (2010) premiered in the Un Certain Regard section at the 2010 Cannes Film
Festival.[115][116] It was released theatrically in France in May 2010.

Godard was rumored to be considering directing a film adaptation of Daniel Mendelsohn's The Lost: A
Search for Six of Six Million, an award-winning book about the Holocaust.[117] In 2013, Godard released the
short Les trois désastres (The Three Disasters) as part of the omnibus film 3X3D with filmmakers Peter
Greenaway and Edgar Pera.[118] 3X3D premiered at the 2013 Cannes Film Festival.[119]

His 2014 film Goodbye to Language, shot in 3-D,[120][121] revolves around a couple who cannot
communicate with each other until their pet dog acts as an interpreter for them. The film makes reference to a
wide range of influences such as paintings by Nicolas de Staël and the writing of William Faulkner, as well as
the work of mathematician Laurent Schwartz and dramatist Bertolt Brecht—one of Godard's most important
influences.[40] It was selected to compete for the Palme d'Or in the main competition section at the 2014
Cannes Film Festival, where it won the Jury Prize.[122]

In 2015 J. Hoberman reported that Godard was working on a new film.[123] Initially titled Tentative de
bleu,[124] in December 2016 Wild Bunch co-chief Vincent Maraval stated that Godard had been shooting Le
livre d'image (The Image Book) for almost two years "in various Arab countries, including Tunisia" and that it
is an examination of the modern Arab World. Le livre d'image was first shown in November 2018.[125][37]

On 4 December 2019, an art installation piece created by Godard opened at the Fondazione Prada in Milan.
Titled Le Studio d'Orphée, the installation is a recreated workspace and includes editing equipment, furniture
and other materials used by Godard in post-production.[126]

Legacy
Godard has been recognized as one of the most influential filmmakers
of the 20th century and one of the leaders of the French New
Wave.[127]

In 1969, film critic Roger Ebert wrote about Godard's importance in

cinema:

Godard is a director of the very first rank; no other

director in the 1960s has had more influence on the Posters for a 2020 Godard
development of the feature-length film. Like Joyce in retrospective in the Paris Métro
fiction or Beckett in theater, he is a pioneer whose present
work is not acceptable to present audiences. But his
influence on other directors is gradually creating and
 educating an audience that will, perhaps in the next generation, be able to look back at his films
and see that this is where their cinema began.[128]

Filmmaker Quentin Tarantino named a production company he founded A Band Apart, a reference to
Godard's 1964 film.[40]

Italian director Bernardo Bertolucci included a homage to Band of Outsiders in his film The Dreamers.[40]

Godard's works and innovations were praised by notable directors such as Michelangelo Antonioni,[129]
Satyajit Ray,[130] and Orson Welles.[131][132] Fritz Lang agreed to take part in Godard's film Le Mépris due to
his admiration of Godard as a director.[133] Akira Kurosawa listed 'Breathless' as one of his 100 favorite
films.[134][135] Political activist, critic and filmmaker Tariq Ali listed Godard's film Tout Va Bien as one of his
ten favorite films of all time in the 2012 Sight and Sound critics' poll.[136] American film critic Armond
White listed Godard's film Nouvelle Vague as one of his top ten favorite films in the same poll.[137]

Godard's films have influenced and inspired many directors, including Martin Scorsese,[138] Quentin
Tarantino, Francis Ford Coppola,[139] George Lucas,[140] David Lynch,[141] Peter Bogdanovich,[142] Brian De
Palma,[143] Oliver Stone,[144][145] William Friedkin,[146] Steven Soderbergh,[147][148] Andrei Tarkovsky,[149]
Andrei Konchalovsky,[149] Alejandro Jodorowsky,[150] Abbas Kiarostami,[40] Lars Von Trier,[40] Atom
Egoyan,[151] D. A. Pennebaker,[152] Claire Denis,[153] Robert Altman,[147] Jim Jarmusch,[147] Takeshi
Kitano,[154] Gaspar Noé,[155] John Waters,[156] Mamoru Oshii,[157] Shane Carruth,[158] Stan Brakhage,[159]
Ken Loach,[160] Kevin Macdonald,[153] Abel Ferrara,[153] Luca Guadagnino,[153] Terence Davies,[153] Paul
Schrader,[153] Rainer Werner Fassbinder,[161] Wong Kar-wai,[147] Edward Yang,[162] Hou Hsiao-hsien,[163]
Wim Wenders,[147][164] Chantal Akerman,[165] Bela Tarr,[166] Theo Angelopoulos,[167] Raoul Peck,[168]
Glauber Rocha,[169][170] Fernando Solanas,[171] Octavio Getino,[171] Emir Kusturica,[172] Terrence
Malick,[173] Paul Thomas Anderson,[174] Wes Anderson,[175] Richard Linklater,[176] Harmony Korine,[177]
Darren Aronofsky,[178] Bernardo Bertolucci,[179] Dušan Makavejev[180], and Pier Paolo Pasolini.[179]

Four of Godard's films are included on the British Film Institute (BFI) Sight and Sound magazine list of 100
Greatest Films: Breathless (13), Le Mépris (21), Pierrot le Fou (42), and Histoire(s) du cinéma (48).[181]

Personal life and death

Godard was married twice, to two of his leading women: Anna Karina (1961–1965)[182] and Anne
Wiazemsky (1967–1979).[183] Beginning in 1970, he collaborated personally and professionally with Anne-
Marie Miéville. Godard lived with Miéville in the municipality of Rolle since 1978,[184] being described by
his former wife Karina as a "recluse".[185]

His relationship with Karina in particular produced some of his most critically acclaimed films,[186] and their
relationship was widely publicized: The Independent described them as "one of the most celebrated pairings
of the 1960s".[186] Filmmaker magazine called their collaborations "arguably the most influential body of
work in the history of cinema."[11] Late in life, however, Karina said they no longer spoke to each other.[187]

Through his father,[188] he was the cousin of Pedro Pablo Kuczynski, former President of Peru.[189]

In 2017, Michel Hazanavicius directed a film about Godard, Redoubtable, based on the memoir One Year
After (French: Un an après; 2015) by Wiazemsky.[183] It centers on his life in the late 1960s, when he and
Wiazemsky made films together. The film premiered at the Cannes Film Festival in 2017.[190] Godard said
that the film was a "stupid, stupid idea".[191]

At the age of 91, Godard died on 13 September 2022, at his home in Rolle, Switzerland. His death was
reported as an assisted suicide procedure, which is legal there.[192][193][194][195]

Selected filmography
Feature films The list excludes multi-director anthology films to which Godard has contributed shorts.

▪ 1960 Breathless[196] ▪ 1972 Tout va bien[210]

▪ 1961 A Woman Is a Woman[197] ▪ 1972 Letter to Jane[210]
▪ 1962 My Life to Live[198] ▪ 1975 Number Two[198]
▪ 1963 The Little Soldier[199] ▪ 1976 Here and Elsewhere[211]
▪ 1963 The Carabineers[200] ▪ 1976/1978 How's It Going?[212]
▪ 1963 Contempt[201] ▪ 1980 Every Man for Himself[213]
▪ 1964 Band of Outsiders[198] ▪ 1982 Passion[214]
▪ 1964 A Married Woman[202] ▪ 1983 First Name: Carmen[198]
▪ 1965 Alphaville[198] ▪ 1985 Hail Mary[215]
▪ 1965 Pierrot le Fou[198] ▪ 1985 Detective[215]
▪ 1966 Masculin Féminin[198] ▪ 1987 King Lear[216]
▪ 1966 Made in U.S.A.[203] ▪ 1987 Keep Your Right Up[217]
▪ 1967 Two or Three Things I Know ▪ 1990 New Wave[105]
About Her[204] ▪ 1991 Germany Year 90 Nine Zero[218]
▪ 1967 La Chinoise[198] ▪ 1993 The Kids Play Russian[219]
▪ 1967 Week-end[198] ▪ 1993 Oh Woe Is Me[220]
▪ 1968 A Film Like Any Other[205] ▪ 1994 JLG/JLG – Self-Portrait in
▪ 1968 One Plus One (Sympathy for the December[106]
Devil)[205] ▪ 1996 For Ever Mozart[107]
▪ 1969 Joy of Learning[206] ▪ 2001 In Praise of Love[221]
▪ 1969 British Sounds[205] ▪ 2004 Notre musique[112]
▪ 1970 Wind from the East[207] ▪ 2010 Film Socialisme[198]
▪ 1971 Struggle in Italy[208] ▪ 2014 Goodbye to Language[198]
▪ 1971 Vladimir et Rosa[209] ▪ 2018 The Image Book[222][223]

Collaboration with ECM Records

Godard had a lasting friendship with Manfred Eicher, founder and head of the German music label ECM
Records.[224] The label released the soundtracks of Godard's Nouvelle Vague (ECM NewSeries 1600-01) and
Histoire(s) du cinéma (ECM NewSeries 1706). This collaboration expanded over the years, leading to
Godard's granting ECM permission to use stills from his films for album covers,[225] while Eicher took over
the musical direction of Godard films such as Allemagne 90 neuf zéro, Hélas Pour Moi, JLG, and For Ever
Mozart. Tracks from ECM records have been used in his films; for example, the soundtrack for In Praise of
Love uses Ketil Bjørnstad and David Darling's album Epigraphs extensively. Godard also released on the
label a collection of shorts he made with Anne-Marie Miéville called Four Short Films (ECM 5001).[226]

Among the ECM album covers with Godard's film stills are these:[227]

▪ Voci, works of Luciano Berio played by Kim Kashkashian (ECM 1735)

▪ Words of The Angel, by Trio Mediaeval (ECM 1753)
▪ Morimur, by Christoph Poppen & The Hilliard Ensemble (ECM 1765)
▪ Songs of Debussy and Mozart, by Juliane Banse & András Schiff (ECM 1772)
▪ Requiem for Larissa, by Valentin Silvestrov (ECM 1778)
▪ Soul of Things, by Tomasz Stanko Quartet (ECM 1788)
▪ Suspended Night, by Tomasz Stanko Quartet (ECM 1868)
▪ Asturiana: Songs from Spain and Argentina, by Kim Kashkashian & Robert Levin
(ECM 1975)
▪ Distances, by Norma Winstone, Glauco Venier & Klaus Gesing (ECM 2028)
▪ Live at Birdland, by Lee Konitz, Brad Mehldau, Charlie Haden & Paul Motian (ECM
2162)

See also
▪ List of directors associated with art film

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" 'Two or Three Things I Know About festival-cannes.com. Retrieved 12 June
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the original (https://www.nytimes.com/ 217. Buache, Freddy (1998). Âge d'homme
2006/11/17/movies/17bmovie.html) on & Histoire et théorie du cinéma (ed.).
18 January 2018. Retrieved 12 June Le cinéma suisse. p. 440.
2022. ISBN 978-2-8251-1012-6.
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206. Hoberman, J. (27 July 2017). "A Godard 1930-2022" (https://www.ft.com/conte
Riff That Adapts Rousseau's Treatise on nt/7492741f-6f5b-4153-b796-0412cfa9
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2017/07/27/movies/le-gai-savoir-jean-l 16 September 2022.
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life and films in pictures" (https://www. 220. Fieschi-Vivet, Laeticia (2000). The
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Cited and general references and further reading

▪ Almeida, Jane. Dziga Vertov Group (http://www.witz.com.br/dzigavertov) Archived
(https://web.archive.org/web/20070311042332/http://www.witz.com.br/dzigavertov
/) 11 March 2007 at the Wayback Machine. São Paulo: witz, 2005.
ISBN 85-98100-05-6.
▪ Nicole Brenez, David Faroult, Michael Temple, James E. Williams, Michael Witt (eds.)
(2007). Jean-Luc Godard: Documents. Paris: Centre Georges Pompidou.
▪ Brody, Richard (2008). Everything Is Cinema: The Working Life of Jean-Luc Godard .
ISBN 978-0-8050-6886-3.
▪ Dixon, Wheeler Winston. The Films of Jean-Luc Godard. Albany: State University of
New York Press, 1997.
▪ Godard, Jean Luc (1986). Godard on Godard: Critical Writings by Jean-Luc Godard (h
ttps://books.google.com/books?id=gtd3lAtcz28C). Da Capo Press.
ISBN 978-0-306-80259-1.
▪ Godard, Jean-Luc (2002). The Future(s) of Film: Three Interviews 2000–01. Bern;
Berlin: Verlag Gachnang & Springer. ISBN 978-3-906127-62-0.
▪ Godard, Jean-Luc (2014). Introduction to a True History of Cinema and Television .
Montreal: caboose. ISBN 978-0-9811914-1-6.
▪ Grant, Barry Keith, ed. (2007). Schirmer Encyclopedia of Film. Detroit: Schirmer
Reference. ISBN 978-0-02-865791-2.
▪ Intxauspe, J.M. (2013). "Film Socialisme: Quo vadis Europa". hAUSnART, 3: 94–99.
▪ Lake, Steve and Griffiths, Paul, eds. (2007). Horizons Touched: the Music of ECM.
Granta Books. ISBN 978-1-86207-880-2. 2007.
▪ Loshitzky, Yosefa. The Radical Faces of Godard and Bertolucci.
▪ MacCabe, Colin (2005). Godard: A Portrait of the Artist at Seventy (https://books.go
ogle.com/books?id=FwLqbp0cEp8C). New York: Faber and Faber.
ISBN 978-0-571-21105-0.
▪ Morrey, Douglas (2005). Jean-Luc Godard (https://books.google.com/books?id=Kby
7RaRmTt4C&pg=PA1). New York: Manchester University Press.
ISBN 978-0-7190-6759-4. Archived (https://web.archive.org/web/20140101150131/
http://books.google.com/books?id=Kby7RaRmTt4C&pg=PA1) from the original on 1
January 2014. Retrieved 16 March 2016.
▪ Müller, Lars (2010). Windfall Light: The Visual Language of ECM. Lars Müller
Publishers. ISBN 978-3-03778-157-9 (in English) & ISBN 978-3-03778-197-5 (in
German).
▪ Rainer Kern, Hans-Jürgen Linke and Wolfgang Sandner (2010). Der Blaue Klang.
Wolke Verlag. ISBN 978-3-936000-83-2 (in German).
▪ Silverman, Kaja and Farocki, Harun. 1998. Speaking About Godard. New York: New
York University Press.
▪ Steritt, David (1998). Jean-Luc Godard: Interviews. Jackson, Mississippi: University
Press of Mississippi. ISBN 9781578060818.
▪ Sterritt, David (13 August 1999). The Films of Jean-Luc Godard: Seeing the Invisible
(https://books.google.com/books?id=Q9C9O27LOIwC). Cambridge University Press.
ISBN 978-0-521-58971-0. Archived (https://web.archive.org/web/20200803140438/
https://books.google.com/books?id=Q9C9O27LOIwC) from the original on 3 August
2020. Retrieved 24 December 2019.
▪ Stevenson, Diane. "Godard and Bazin" in the Andre Bazin special issue, Jeffrey
Crouse (ed.), Film International, Issue 30, Vol. 5, No. 6, 2007, pp. 32–40.
▪ Temple, Michael. Williams, James S. Witt, Michael (eds.) 2007. For Ever Godard.
London: Black Dog Publishing.
▪ Temple, Michael and Williams, James S. (eds.) (2000). The Cinema alone: Essays on
the Work of Jean-Luc Godard 1985–2000. Amsterdam: Amsterdam University Press.
▪ Usher, Phillip John (2009). "De Sexe Incertain: Masculin, Féminin de Godard".
French Forum, vol. 34, no. 2, pp. 97–112.
▪ Wills, David (28 April 2000). Jean-Luc Godard's Pierrot Le Fou (https://books.google.
com/books?id=3ExKmREQI9IC). Cambridge University Press.
ISBN 978-0-521-57489-1. Archived (https://web.archive.org/web/20200803124606/
https://books.google.com/books?id=3ExKmREQI9IC) from the original on 3 August
2020. Retrieved 24 December 2019.

External links
▪ Jean-Luc Godard (https://www.imdb.com/name/nm0000419/) at IMDb
▪ Jean-Luc Godard (https://www.discogs.com/artist/Jean-Luc+Godard) discography at
Discogs
▪ Cinema=Godard=Cinema (http://cinemagodardcinema.wordpress.com), a hub for
academic information and discussion about Godard
▪ Jean-Luc Godard (http://www.criterion.com/explore/12-jean-luc-godard) at the
Criterion Collection
▪ Jean Luc Godard Biography (http://www.newwavefilm.com/french-new-wave-encycl
opedia/jean-luc-godard.shtml) at newwavefilm.com
▪ Jean-luc Godard Timeline (http://www.carleton.edu/curricular/MEDA/classes/media1
10/Friesema/intro.html)
▪ Detailed filmography of Jean-Luc Godard (http://en.unifrance.org/directories/person/
15597/jean-luc-godard) on unifrance.org
▪ Jean-Luc Godard (https://www.theguardian.com/film/jeanlucgodard) at The
Guardian Film
▪ Jean-Luc Godard (https://web.archive.org/web/20071024183132/http://movies.nyti
 mes.com/person/91804/Jean-Luc-Godard) at The New York Times Movies
▪ Jean-Luc Godard (http://topics.nytimes.com/top/reference/timestopics/people/g/jean
luc_godard/index.html) collected news and commentary at The New York Times
▪ Publications by and about Jean-Luc Godard (https://nb-helveticat.primo.exlibrisgrou
p.com/discovery/search?query=any,contains,%22Jean-Luc+Godard%22&tab=Libra
ryCatalog&search_scope=MyInstitution&vid=41SNL_51_INST:helveticat&lang=de&
offset=0) in the catalogue Helveticat of the Swiss National Library
▪ Guardian interview (29 April 2005) (https://www.theguardian.com/film/2005/apr/29/
2)
▪ Video dialog—in French—between Godard and the French writer Stéphane
Zagdanski about Literature and Cinema, November 2004 (http://parolesdesjours.fre
e.fr/gozag.htm)
▪ Interview with Jean-Luc Godard, 1972 (https://www.youtube.com/watch?v=mKrtdKfi
v8k)
▪ Film catastrophe, the shooting of Film socialisme aboard the Costa Concordia (http
s://www.filmcatastrophe.com)

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