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Search Results for Jean-Luc Godard
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boundary 2 (2017) 44 (1): 107–123.
Published: 01 February 2017
... resemblance to the structure of consciousness itself, and in terms of its location at the intersection of the technical and the oneiric. Jean-Luc Godard's Contempt is a film through which it is possible to understand not just that cinema functions as an element in an ideological and consumerist system, as...
boundary 2 (2020) 47 (1): 115–143.
Published: 01 February 2020
...—as well as cinematic documentaries about the Nazi murder of European Jews by Alain Resnais, Claude Lanzmann, and Jean-Luc Godard. By focusing on contemporary Terezín, Blaufuks also brings to light aspects of memorialization within post-totalitarian societies investigated by filmmakers Petra Epperlein...
boundary 2 (2017) 44 (2): 95–125.
Published: 01 May 2017
... footage essay film Harun Farocki Jean-Luc Godard References Arendt Hannah . 1965 . On Revolution . New York : Viking . Badiou Alain . 2011 . “Tunisie, Egypte: Quand un vent d'est balaie l'arrogance de l'Occident.” Le Monde , February 18 . Translated by Petru...
boundary 2 (2008) 35 (3): 63–97.
Published: 01 August 2008
... through the work of people like Jean- Luc Godard, and I had a strong sense that, “Wow, truly a simultaneous and global movement could happen.” Then I began to look not only to the making of film but also to the importance of screenings as a movement (jôei und It was at that point that I became a...
boundary 2 (2007) 34 (1): 67–77.
Published: 01 February 2007
... Robbe-Grillet, Alain Renais, Marguerite Duras, and Jean-Luc Godard, who exerted a lasting influence well beyond Paris, were chronologically sub- sequent to Rashomon.) Indeed, as Mitsuhiro Yoshimoto discusses in his study, scholars of Kurosawa’s work have often presented it contradictorily...
boundary 2 (2021) 48 (1): 251–263.
Published: 01 February 2021
.... But often those who wrote criticism dared make art. Think of Pier Paolo Pasolini. Think of Cahiers du cinema writers like François Truffaut and Éric Rohmer. A. O. Scott writes in his Better Living through Criticism: How to Think about Art, Pleasure, Beauty, and Truth that Jean-Luc Godard is a...
boundary 2 (2004) 31 (1): 243–265.
Published: 01 February 2004
... Straub and Danièle Huillet, and Jean-Luc Godard, as well as Peter Gidal, Malcolm le Grice, and Michael Snow. The Other Cinema supplied much of this material, but many ﬁlms were also provided, free of charge, by embassies. The Proj- ect Cinema Club received little support from commercial distributors...
boundary 2 (2003) 30 (3): 123–140.
Published: 01 August 2003
... is to challenge modes of habitual response as explored in Superstar, Vel- vet Goldmine, and Poison. Deleuze’s observations on the cinematic body exempliﬁed by Jean-Luc Godard’s Pierrot le fou can be extended, I believe...
boundary 2 (2016) 43 (3): 313–335.
Published: 01 August 2016
... anticolonial books such as Frantz Fanon’s Peau noire, masques blancs (1952), texts by Aimé Césaire and Léopold Sédar Senghor (1967), and Mao Tse- tung’s Little Red Book (1967), which became a great success in 1968. See Jean-Luc Godard’s film La Chinoise (1967) for a vivid take on the mood of New Left...
boundary 2 (2008) 35 (3): 99–131.
Published: 01 August 2008
boundary 2 (2013) 40 (2): 113–144.
Published: 01 May 2013
... Wollen’s “countercinema” of the 1960s, which is epitomized by filmmakers such as Jean- Luc Godard. As Galloway sug- gests, the fairly recent practice of “countergaming” has been characterized by artist- created videogame mods, including Jodi’s untitled game (1996– 2001) and Brody Condon’s Adam...
boundary 2 (2020) 47 (3): 133–163.
Published: 01 August 2020
... incorporate and adapt different media, like painting, theater, and literature exemplified by the literal restaging of Eugene Delacroix s paint- ing in Jean- Luc Godard s Passion raises profound questions about the nature and function of the cinematic image. Even though all these aforementioned titles can take...
boundary 2 (2016) 43 (2): 73–124.
Published: 01 May 2016
... modern thought of art . . . , contains from the moment of its appearance the promise of its disappearance” (emphasis added). Cf. Jean-Luc Nancy, “L’offrande sublime,” Poésie 30 (1984): 77: “sous le motif du sublime [in Longinus] s’annonce une nécessité de ce qui arrive à l’art dans son destin...