1960s

Henri Langlois, Georges Franju, and Jean Mitry, founded the Cinémathèque Française (a Paris-based film theater and museum) in 1936 which progressed from ten films in 1936 to more than 60,000 films by the early 70s. More than just an archivist, Langlois saved, restored and showed many films that were at risk of disintegration. Films are stored in celluloid, a material which requires a highly controlled environment and some degree of attention to survive over time.

During the Second World War, Langlois and his colleagues helped to save many films that were in risk of being destroyed due to the Nazi occupation of France.Read More »

Here`s a long Godard interview from 1968 where he not only gives interesting insides into his La Chinoise but also talks about Foucault, Roland Barthes, Bergman`s Persona,
Pasolini and much more.

Here are some quotes:

Quote:

That’s precisely why we’re
trying to make movies so that future Foucaults
won’t be able to make such assertions with quite
such assurance. Sartre can’t escape this reproach,
either.Read More »

Description: This consists of four short films by different directors. Rosselini’s ‘Chastity’ (‘Illibatezza’) deals with an attractive air hostess who receives the unwelcome attentions of a middle aged American. Godard’s ‘New World’ (‘Il Nuovo Mondo’) illustrates a post-apocalypse world the same as the pre-apocalyptic one but for an enigmatic change in attitude in most people, including the central character’s girlfriend. In Pasolini’s ‘Curd Cheese’ (‘La Ricotta’), a lavish film about the life of Jesus Christ is being made in a poor area. The impoverished people subject themselves to various indignities in the name of moviemaking in order to win a little food. Finally comes Gregoretti’s ‘Free Range Chicken’ (‘Il Pollo Ruspante’) in which a family of the materialist culture inadvertantly illustrate the cynical, metallic voiced doctrine of a top sales theorist.Read More »

PotMatters Review :
Captured in beguilingly chic noir et blanc, Jean Luc Godard’s Une Femme Mariée (A Married Woman) is an erudite, somewhat autobiographical, handsome and twisted examination of female infidelity. Although it has been rather overlooked amidst Godard’s formidable body of work, it is one of his most alluring and personal cinematic endeavours and represents a critical juncture in his evolution as a film-maker.Read More »

With its giddily complex noir plot and color-drenched widescreen images, Made in U.S.A was a final burst of exuberance from Jean-Luc Godard’s early sixties barrage of delirious movie-movies. Yet this chaotic crime thriller and acidly funny critique of consumerism—starring Anna Karina as the most brightly dressed private investigator in film history, searching for a former lover who might have been assassinated—also points toward the more political cinema that would come to define Godard. Featuring characters with names such as Richard Nixon, Robert McNamara, David Goodis, and Doris Mizoguchi, and appearances by a slapstick Jean-Pierre Léaud and a sweetly singing Marianne Faithfull, this piece of pop art is like a Looney Tunes rendition of The Big Sleep gone New Wave. (Criterion)Read More »