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James S.
Encounters with Godard
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2387111Encounters with Godardhttps://www.gandhi.com.mx/encounters-with-godard-9781438460642/phttps://gandhi.vtexassets.com/arquivos/ids/2078754/1f221ef2-b4eb-4ee3-9b3c-5f16901ffeeb.jpg?v=638383479141970000682758MXNState University of New York PressInStock/Ebooks/<p><strong>A wide-ranging and accessible approach to Godards later work, and a major intervention in the study of film and ethics.</strong></p><p><em>Encounters with Godard</em> takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godards multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of <em>La Chinoise</em> (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including <em>Nouvelle vague</em> (1990), <em>Film socialisme</em> (2010), <em>Hélas pour moi</em> (1993), and the magnum opus <em>Histoire(s) du cinéma</em> (198898). Wide-ranging and accessible, <em>Encounters with Godard</em> marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.</p>...2323375Encounters with Godard682758https://www.gandhi.com.mx/encounters-with-godard-9781438460642/phttps://gandhi.vtexassets.com/arquivos/ids/2078754/1f221ef2-b4eb-4ee3-9b3c-5f16901ffeeb.jpg?v=638383479141970000InStockMXN99999DIEbook20169781438460642_W3siaWQiOiI0NTgyMTMzNy00NWE4LTQ5ODYtYWE1Ny1mZmI3MmI5MDQ3ZmYiLCJsaXN0UHJpY2UiOjczOSwiZGlzY291bnQiOjc0LCJzZWxsaW5nUHJpY2UiOjY2NSwiaW5jbHVkZXNUYXgiOnRydWUsInByaWNlVHlwZSI6Ildob2xlc2FsZSIsImN1cnJlbmN5IjoiTVhOIiwiZnJvbSI6IjIwMjUtMDItMTZUMjM6MDA6MDBaIiwidG8iOiIyMDI1LTAzLTMxVDIzOjU5OjU5WiIsInJlZ2lvbiI6Ik1YIiwiaXNQcmVvcmRlciI6ZmFsc2V9LHsiaWQiOiIyMjdhZGVmYy1mNjExLTQ0NTAtOWJhMC1iZTY2NmRmYmU4NDEiLCJsaXN0UHJpY2UiOjc1OCwiZGlzY291bnQiOjc2LCJzZWxsaW5nUHJpY2UiOjY4MiwiaW5jbHVkZXNUYXgiOnRydWUsInByaWNlVHlwZSI6Ildob2xlc2FsZSIsImN1cnJlbmN5IjoiTVhOIiwiZnJvbSI6IjIwMjUtMDQtMDFUMDA6MDA6MDBaIiwicmVnaW9uIjoiTVgiLCJpc1ByZW9yZGVyIjpmYWxzZX1d9781438460642_<p><em>Encounters with Godard</em> takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godards multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of <em>La Chinoise</em> (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including <em>Nouvelle vague</em> (1990), <em>Film socialisme</em> (2010), <em>Hélas pour moi</em> (1993), and the magnum opus <em>Histoire(s) du cinéma</em> (198898). Wide-ranging and accessible, <em>Encounters with Godard</em> marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.</p>(*_*)9781438460642_<p><strong>A wide-ranging and accessible approach to Godards later work, and a major intervention in the study of film and ethics.</strong></p><p><em>Encounters with Godard</em> takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godards multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of <em>La Chinoise</em> (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including <em>Nouvelle vague</em> (1990), <em>Film socialisme</em> (2010), <em>Hélas pour moi</em> (1993), and the magnum opus <em>Histoire(s) du cinéma</em> (198898). Wide-ranging and accessible, <em>Encounters with Godard</em> marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.</p>...9781438460642_State University of New York Presslibro_electonico_3c3c20c8-972e-38b2-bf99-98f679233be9_9781438460642;9781438460642_9781438460642James S.InglésMéxico2016-06-01T00:00:00+00:00https://getbook.kobo.com/koboid-prod-public/ingram30-epub-9bd00866-28d0-44a5-8fdf-3f0a3b7395f9.epubState University of New York Press