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On Jean-Luc Godard's film "breathless"
An award-winning scholar and teacher explores how Shakespeare's greatest characters were built on a learned sense of empathy While exploring Shakespeare's plays with her students, Paula Marantz Cohen discovered that teaching and discussing his plays unlocked a surprising sense of compassion in the classroom. In this short and illuminating book, she shows how Shakespeare's genius lay with his ability to arouse empathy, even when his characters exist in alien contexts and behave in reprehensible ways. Cohen takes her readers through a selection of Shakespeare's most famous plays, including Hamlet, Othello, King Lear, and The Merchant of Venice, to demonstrate the ways in which Shakespeare thought deeply and clearly about how we treat "the other." Cohen argues that only through close reading of Shakespeare can we fully appreciate his empathetic response to race, class, gender, and age. Wise, eloquent, and thoughtful, this book is a forceful argument for literature's power to champion what is best in us.
From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.
"I am a reporter, not an artist. I believe that reportage teaches us more - it's more important to capture life than constructed situations." -- Raymond Cauchetier, from The Telegraph. In the late 1950s and early 1960s French New Wave cinema exploded onto international screens with films like Les quatre cents coups, A bout de souffle and Jules et Jim. They were radical, artistic, original and most importantly set up the director as a creative genius; at the forefront were Francois Truffaut and Jean-Luc Godard. Today these films are credited with changing cinema forever. For many film goers they command strong and passionate respect and became the foundations on which a lifetime of cinema-going is built. In the photographs of Raymond Cauchetier we bear witness to the great artistic genius that was central to the process of making these films. Cauchetier's photographs are a culturally important documentary of the director at work, his methods and processes. His photographs capture some of the most memorable moments in film; Jean-Paul Belmondo and Jean Seberg on the Champs Élysées in A bout de souffle, Jeanne Moreau in the race scene of Jules et Jim, Anna Karina in a Parisian Cafe in Une femme est une femme. But Cauchetier's genius lies also in the fact that his photographs are far above just a visual record of these films. They clearly show the same spirit, the same freedom and the same originality that made The New Wave so important. Cauchetier's photographs are as much a part of The New Wave as the films themselves. In the words of Richard Brody: In these images, Raymond Cauchetier, a witness to art, made art by bearing true witness. This is the first book published in English featuring the New Wave film photographs of Raymond Cauchetier. And exhibit for Raymond Cauchetier's New Wave is feature at the James Hyman Gallery in London, from June 17 - August 15, 2015.
In the early 1960s, most middle-class American women in their twenties had their lives laid out for them: marriage, children, and life in the suburbs. Most, but not all. Breathless is the story of a girl who represents those who rebelled against conventional expectations. Paris was a magnet for those eager to resist domesticity, and like many young women of the decade, Nancy K. Miller was enamored of everything French—from perfume and Hermès scarves to the writing of Simone de Beauvoir and the New Wave films of Jeanne Moreau. After graduating from Barnard College in 1961, Miller set out for a year in Paris, with a plan to take classes at the Sorbonne and live out a great romantic life inspired by the movies. After a string of sexual misadventures, she gave up her short-lived freedom and married an American expatriate who promised her a lifetime of three-star meals and five-star hotels. But her husband wasn't who he said he was, and she eventually had to leave Paris and her dreams behind. This stunning memoir chronicles a young woman’s coming-of-age tale, and offers a glimpse into the intimate lives of girls before feminism.
Jean Seberg (1938-1979) was an American and French actress, and a champion of compassion, equality and kindness. She was from a "small town" in Iowa and became the darling of Paris. She alternated between European art films ("The Five-Day Lover," "Dead of Summer") and big Hollywood movies ("Paint Your Wagon," "Airport"), on the way helping Jean-Luc Godard to shape contemporary cinema ("Breathless"). Seberg moved between the worlds of show business and politics, from private and state dinners with leaders to clandestine activities supporting groups and individuals on both sides of the Atlantic. For one whose hope was a better life for those less fortunate, she found herself ultimately destroyed by one powerful institution (the FBI) manipulating another (the news media)."Jean Seberg -- Breathless" tells the story of this unique icon of the French New Wave. Featuring more than thirty photographs and selections from Seberg's private letters and poems, Garry McGee traces Seberg's personal, professional and artistic life through exclusive interviews with several people who knew the woman, some who have never spoken publicly until now.Rich in detail, "Jean Seberg -- Breathless" is the definitive portrait of an international icon whose story has never been told fully or justly until now.
She was from a large town in Iowa and became the darling of Paris. She alternated between small European films and big Hollywood movies, on the way helping Jean-Luc Godard to shape contemporary cinema. She moved between the worlds of show business and politics, from private and state dinners with leaders to clandestine activities supporting groups and individuals on both sides of the Atlantic. She was a unique person ahead of her time. Breathless tells the story of the woman who, after a disastrous film debut in Saint Joan, became both acclaimed international actress (Lilith, Dead of Summer) and popular star (Paint Your Wagon, Airport). It also tells of the FBI's campaign to "neutralize" Seberg, and the still unsolved mystery of her death in 1979 at the age of 40. Featuring exclusive interviews with family, friends and acquaintances, Jean Seberg - Breathless includes personal letters and obscure quotes from the subject, and more than sixty rare photographs. Iowa-born Garry McGee is a documentary filmmaker and author. Jean Seberg - Breathless is his fourth book. His book with Jean Russell Larson, Neutralized: the FBI versus Jean Seberg, is also being published by BearManor Media.
One of the most important, controversial, and prolific filmmakers in film history, and a founder of French New Wave cinema, Jean-Luc Godard has maintained an unbroken string of films in various genres and mediums from the late 1950s onward. Godard has established a reputation as a rebel who can work within and outside the system, producing films that are creative, breathtakingly beautiful, and yet commercial enough to earn back their production costs. In this book, Wheeler Winston Dixon offers an overview of all of Godard's work as a filmmaker, including his work for television and his ethnographic work in Africa. Free from the jargon and value judgments that have marred much of what has been written about Godard, this is the only book that covers the entirety of Godard's career, from his early film criticism for Cahiers du Cinema to his most recent video/film work. Illustrated with forty-six rare stills and researched in detail, it is the Godard book for the 1990s.
Centering on the question whether conversation can shape the soul, Glaucon's Fate is a powerful new interpretation of Plato's Republic.