{"id":66,"date":"2014-05-13T09:18:29","date_gmt":"2014-05-13T07:18:29","guid":{"rendered":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/?p=66"},"modified":"2019-08-08T08:15:43","modified_gmt":"2019-08-08T06:15:43","slug":"godard-1967-1979","status":"publish","type":"post","link":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/godard-1967-1979\/","title":{"rendered":"<br>Jean-Luc Godard entdecken <br>\u2026 1967\u20131979"},"content":{"rendered":"<p><span style=\"line-height: 1.5em;\">Kommentierte Filmografie (Auswahl),<br \/>\n<\/span>Vorlesung am 13.6.2012<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"line-height: 1.5em;\">Bis zum Ende der 1960er Jahre war Godard sehr produktiv, wobei Filme wie Week-End, La chinoise oder Zwei oder drei Dinge, die ich von ihr wei\u00df chronologisch schwer einzuordnen sind, da sie teilweise parallel gedreht wurden. Godard bewegte sich in diesen Werken immer weiter weg vom realistischen Erz\u00e4hlkino im Stile Truffauts hin zu einem experimentellen Umgang mit Musik, Schrifttafeln und zum Beispiel Beitr\u00e4gen zum Vietnamkrieg, der in fast allen Filmen dieser Zeit Erw\u00e4hnung fand. Week-End beispielsweise enth\u00e4lt eine der l\u00e4ngsten Kamerafahrten der Filmgeschichte, die jeweils viermal durch Schrifttafeln unterbrochen wird \u2026<\/span><\/p>\n<p>besonders nach 1968, provozierte Godard in seinen Filmen immer wieder mit radikaler Gesellschaftskritik. Dieses Jahr ist kulturgeschichtlich gesehen von einschneidender Bedeutung, denn es kam zu den heute so genannten \u201eEreignissen\u201c (\u201e\u00e9v\u00e9nements\u201c) des Pariser Mai, die Godard aus der Reserve lockten. Nachdem er den Produzenten seines Films One plus One (auch: Sympathy for the Devil) geohrfeigt hatte, wurden seine Werke dem Kinopublikum nicht mehr \u00fcber den Filmverleih zug\u00e4nglich gemacht, was in beiderseitigem Einvernehmen geschah. Daher werden die nach diesem Ereignis entstandenen Werke oft als die unsichtbaren Filme bezeichnet. Gemeinsam mit dem sozialistischen Theoretiker und Althusser-Sch\u00fcler Jean-Pierre Gorin gr\u00fcndete er die Groupe Dziga Vertov (benannt nach dem sowjetischen Filmemacher und Filmtheoretiker Dsiga Wertow), die dem kommerziellen Kino eine Absage erteilte und ihre Filme in den Dienst der Revolution stellte. Aus Sicht dieser Gruppe konnte man das imperialistische Kino jener Zeit nicht mit seinen eigenen Waffen bek\u00e4mpfen. Und da seit Griffith keine revolution\u00e4ren Filme mehr hergestellt worden waren, musste man auch die Grammatik und die Formen der Darstellung neu (er-)finden.<\/p>\n<p>&nbsp;<\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/56055902?title=0&amp;byline=0&amp;portrait=0\" height=\"451\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>1967: Camera Eye\u00a0<\/strong><br \/>\nBeitrag zu: Loin du Vietnam (Fern von Vietnam) 1967<\/p>\n<p>Godard was asked to make a short piece on Vietnam as part of an omnibus film called \u2018Far From Vietnam\u2019 that was being edited by the great experimental filmmaker Chris Marker. He was unable to actually go there so he used film clips and shot himself looking through a 35mm camera. His voiceover connects the war in Vietnam to his own life and to social struggles going on in Paris. He makes a fascinating attempt to express the futility of making a film about the war without any real understanding of it.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Spiegel v. 06.11.1967<\/em><br \/>\n<a href=\"http:\/\/www.spiegel.de\/spiegel\/print\/d-46209410.html\" target=\"_blank\">spiegel.de\/1967<br \/>\n<\/a><a href=\"http:\/\/www.prisma.de\/film.html?mid=1967_fern_von_vietnam\" target=\"_blank\">prisma.de\/1967_fern_von_vietnam<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63656528?title=0&amp;byline=0&amp;portrait=0\" height=\"447\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>1967: Die Chinesin<\/strong>\u00a0(La Chinoise).<\/p>\n<p>Thematically, La Chinoise concerns the 1960s New Left political interest in such historical and ongoing events as the legacy of Lenin&#8217;s October 1917 Russian Revolution, the escalating U.S. military activities in the increasingly unstable region of southeast Asia, and especially the Cultural Revolution brought about by the Red Guards under Mao Zedong in the People&#8217;s Republic of China. The film also touches upon the rise of anti-humanist poststructuralism in French intellectual life by the mid-1960s, particularly the anti-empiricist ideas of the influential French Marxist, Louis Althusser.<br \/>\nGodard likewise portrays the role that certain objects and organizations \u2014 such as Mao&#8217;s Little Red Book, the French Communist Party, and other small leftist factions \u2014 play in the developing ideology and activities of the Aden Arabie cell. These objects and organizations appear to become ironically fetishized as entertainment products and fashion statements within a modern consumer-capitalist society \u2014 the very society which the student radicals hope to transform through their revolutionary project.<\/p>\n<p>This paradox is illustrated in the various joke sunglasses that Guillaume wears (with the national flags of the USA, USSR, China, France and Britain each filling the frames) while reading Mao&#8217;s Little Red Book, as well as the sight gag of having dozens of copies of the Little Red Book piled in mounds on the floor to literally create a defensive parapet against the forces of capitalist imperialism, and a jaunty satirical pop song, &#8222;Mao-Mao&#8220; (sung by Claude Channes), heard on the soundtrack. Godard seems to suggest that the students are at once serious committed revolutionaries intent on bringing about major social change as well as confused bourgeois youngsters merely flirting with the notion of radical politics as a fashionable and exciting distraction.<\/p>\n<p>La Chinoise is not one of Godard&#8217;s most widely seen films, and until 2008 was unavailable on DVD in North America. However, a number of critics such as Pauline Kael, Andrew Sarris and Renata Adler have hailed it as among his best.[citation needed] Given that the film was made in March 1967 \u2014 one year before violent student protest became a manifest social reality in France \u2014 La Chinoise is now regarded as an uncannily prescient and insightful examination of the New Left activism during those years.<\/p>\n<p>Along with Pierrot le fou, Masculin, f\u00e9minin, Two or Three Things I Know About Her and Week End, La Chinoise is often seen as signaling a decisive step towards Godard&#8217;s eventual renunciation of &#8222;bourgeois&#8220; narrative filmmaking.[citation needed] By 1968, he had switched to an overtly political phase of revolutionary Maoist-collectivist didactic films with Jean-Pierre Gorin and the Dziga Vertov Group, which lasted for the next six years until 1973.<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63647219?title=0&amp;byline=0&amp;portrait=0\" height=\"453\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><em>1967 Die Chinesin \u2013 Einf\u00fchrung von Colin MacCabe<\/em><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63656527?title=0&amp;byline=0&amp;portrait=0\" height=\"341\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>1967: Week-End<\/strong><\/p>\n<p>1967, 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 some of the most written-about scenes in cinema&#8217;s history. One of them, an eight-minute tracking shot of the couple stuck in an unremitting traffic jam as they leave the city, is cited as a new technique Godard used to deconstruct bourgeois trends.[16] 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&#8217;s enigmatic and audacious end title sequence, which reads &#8222;End of Cinema&#8220;, appropriately marked an end to the narrative and cinematic period in Godard&#8217;s filmmaking career.<\/p>\n<p>Der Wochenendausflug eines jungen Paares aus Paris wird unvermittelt zu einer allegorischen Reise durch Zeiten und Kultur, auf der die zerst\u00f6rerischen Kr\u00e4fte ans Licht treten, die unter der Oberfl\u00e4che der b\u00fcrgerlichen Wohlstandsgesellschaft schlummern. Godard zeigt eine Welt am Rande des Abgrunds und beendet den Film folgerichtig mit dem Schlu\u00dftitel: &#8222;Ende der Geschichte, Ende des Kinos&#8220;. Man kann \u00fcber die Richtigkeit der Diagnose streiten, nicht aber \u00fcber Godards Virtuosit\u00e4t als Regisseur. Die fast zehnmin\u00fctige Kamerafahrt entlang einer Autokolonne auf einer Landstra\u00dfe, untermalt von einer ohrenbet\u00e4ubenden Ger\u00e4uschkulisse, geh\u00f6rt zu den unverge\u00dflichen Sequenzen der Filmgeschichte. Ein ungeheuer aggressiver Film, der seine Kritik in eine intellektuelle Form gie\u00dft und durch seine formale Virtuosit\u00e4t besticht.<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/56187354?title=0&amp;byline=0&amp;portrait=0\" height=\"369\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><em>Week-End Traktor-Szene<\/em><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63656530?title=0&amp;byline=0&amp;portrait=0\" height=\"449\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>1968: Fr\u00f6hliche Wissenschaft<\/strong>\u00a0(Le Gai savoir)<\/p>\n<p>Joy of Learning (French: Le Gai savoir) is a 1969 film by Jean-Luc Godard, started before the events of May 68 and finished shortly afterwards. Coproduced by the O.R.T.F., the film was upon completion rejected by French national television, then released in the cinema where it was subsequently banned by the French government. The film was entered into the 19th Berlin International Film Festival.[1] The title references Nietzsche&#8217;s The Gay Science.<\/p>\n<p>Godard hat den Film, dessen Titel von Nietzsche entliehen ist, eine Art Sprachforschung genannt, das Ergebnis seiner Besch\u00e4ftigung mit Russell, Wittgenstein und dem Strukturalismus. Es geht ihm um das Aufdecken von Strukturen in der t\u00e4glich auf uns einstr\u00f6menden Flut von Bildern, W\u00f6rtern, Signalen und Stimuli; er will Modelle entwickeln, die unsere Realit\u00e4t erfahrbar und verf\u00fcgbar machen im filmischen Extrakt. Man sollte den Regisseur hier w\u00f6rtlich nehmen, sollte \u201eDie fr\u00f6hliche Wissenschaft&#8220; nicht als pseudophilosophische Quasselstory abtun oder den Film emphatisch und wortreich nachempfinden, sondern ihn an dem Anspruch messen, den Godard erhebt.<\/p>\n<p>Godards Film seziert nicht eine Realit\u00e4t, sondern dreht alles, was er von ihr in den Griff bekommt, durch den Fleischwolf seines \u201eCinemarxismus&#8220; \u2014 er spiegelt unsere konfuse Realit\u00e4t in einem konfusen Film wider. Die Frage bleibt nat\u00fcrlich, ob eine andere L\u00f6sung \u00fcberhaupt m\u00f6glich w\u00e4re, ob nicht die Unsystematik der \u201eFr\u00f6hlichen Wissenschaft&#8220; die berechtigten Skrupel ausdr\u00fcckt vor einem wohlgeordneten, auf Identifikation und Best\u00e4tigung hinarbeitenden Bild der Wirklichkeit, das diese nur simplifizieren und verf\u00e4lschen kann.<br \/>\n\u2026<br \/>\nDas Prinzip seiner letzten Filme und vor allem der \u201eFr\u00f6hlichen Wissenschaft&#8220; ist die Collage \u2014 ein Prinzip, das seine Arbeitsweise, den Film selber und dessen Rezeption gleicherma\u00dfen betrifft. Schon immer hat Godard unmittelbar aufgenommen und verwertet, was er gerade sah, h\u00f6rte, las oder erfuhr, ein flexibler, ungeheuer schneller Seismograph alles Neuen und Akuten, aller Moden, Trends und augenblicklichen Probleme.<br \/>\n\u2026<br \/>\nDie Beschreibung von \u201eLe gai savoir&#8220; k\u00f6nnte den Eindruck erwecken, es handle sich um ein abstraktes, blutleeres Gedankengeb\u00e4ude, doch das Gegenteil ist der Fall: Godard verfremdet, neutralisiert und versinnlicht zugleich sein Material mit einem unglaublichen Gesp\u00fcr f\u00fcr optische Wirkungen, er arrangiert das modisch revolution\u00e4re Treibgut zu erregend sch\u00f6nen Bildfolgen. Kaum glaublich, welche \u00e4sthetischen Qualit\u00e4ten er allein der kargen Szenerie des Studios abgewinnnt, wie er mit so einfachen Dingen wie einem bunten Schal oder einem durchsichtigen Schirm sinnliches, faszinierendes Kino macht.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Wolf Donner, 20.2.1970\u00a0<\/em><br \/>\n<em>Zeit-Archiv<\/em><br \/>\n<a href=\"http:\/\/www.zeit.de\/1970\/08\/ein-improvisiertes-abc-des-modernen-kinos\" target=\"_blank\">zeit.de\/1970\/ein-improvisiertes-abc-des-modernen-kinos<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/56055904?title=0&amp;byline=0&amp;portrait=0\" height=\"346\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>1968: One Plus One &#8211; Sympathy for the Devil<\/strong><\/p>\n<p>&#8222;One Plus One&#8220; ist allegorischer Spielfilm und experimentelles Rolling Stones-Musikvideo zugleich, geschrieben und inszeniert von Regie-Legende Jean-Luc Godard. In seinem sozialkritischen Film hat Godard die Entwicklung des Songs &#8222;Sympathy for the Devil&#8220; (1968) festgehalten, der die Rolling Stones bei der Arbeit im Studio zeigt und diese montageartig mit absurd anmutenden, radikal gesellschaftskritischen Szenen verkn\u00fcpft. Der legend\u00e4re Stones-Song steht als Metapher f\u00fcr die Aufbruchstimmung der 68er Jahre: Die Musik wechselt sich ab mit einem im Off verlesenen Polit-Porno.<\/p>\n<p>In den 60er Jahren bewegte sich Jean-Luc Godard, auf der Suche nach neuen, subversiven Ausdrucksformen, immer weiter weg vom realistischen Erz\u00e4hlkino hin zu experimentellem Umgang mit Musik, Schrifttafeln und dokumentarischen Sequenzen. Nach verschiedenen Erfahrungen mit Dreharbeiten im Kollektiv, etwa bei seinen Beitr\u00e4gen zum Vietnamkrieg, war &#8222;One Plus One&#8220; der ersten Film, in dem Godard seine Intention, &#8222;politische Filme politischer Art zu machen&#8220;, realisieren konnte. Es war der Abschied des Meisters der Nouvelle Vague vom b\u00fcrgerlichen Kino, zu dem er erst 1980 mit &#8222;Rette sich, wer kann &#8220; zur\u00fcckkehren sollte.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"line-height: 1.5em;\"><em>aus:<\/em><br \/>\n<\/span><a href=\"http:\/\/www.arte.tv\/de\/3362264,CmC=3347978.html\" target=\"_blank\">arte.tv\/de\/3362264,CmC=3347978.html<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63656525\" height=\"360\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>1972: Alles in Butter<\/strong>\u00a0(Tout va bien)<\/p>\n<p>Film directed by Jean-Luc Godard and collaborator Jean-Pierre Gorin and starring Jane Fonda and Yves Montand.<\/p>\n<p>The film centers on a strike at a sausage factory which is witnessed by an American reporter and her French husband, who is a film director. The film has a strong political message which outlines the logic of the class struggle in France during the revolution. It also exploits the social destruction caused by capitalism. Brechtian distanciation is used by many of the performers\/actors in Tout va bien. This technique, which requires actors to give an opaque performance, is one of the many self-reflexive qualities of the film. Self-reflexivity is a technique used to distance the audience from the film&#8217;s diegesis in an attempt to prompt the audience to make larger, more important inferences about the film&#8217;s meaning.<\/p>\n<p>The factory set consists of a cross-sectioned building and allows the camera to dolly back and forth from room to room, theoretically through the walls. Another self-reflexive technique, this particular set was used because it forces the audience to remember that they are witnessing a film, breaking the fourth wall in a literal sense. This type of staging was also used in Jerry Lewis&#8217;s film The Ladies Man. Godard and Gorin use other self-reflexive techniques in Tout va bien such as direct camera address, long takes, and abandonment of the continuity editing system.<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/56055908?title=0&amp;byline=0&amp;portrait=0\" height=\"339\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><em>Interview mit Antoine de Baecque<strong>\u00a0<\/strong><\/em><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/56055916?title=0&amp;byline=0&amp;portrait=0\" height=\"339\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><em>Interview mit Armand Marco<strong>\u00a0<\/strong><\/em><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/95101499?title=0&amp;byline=0&amp;portrait=0\" height=\"450\" width=\"600\" allowfullscreen=\"\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>1972: Letter to Jane<\/strong><\/p>\n<p>Godard and Gorin followed Tout va bien up with Letter to Jane, an essay film which deconstructs a photograph of Fonda visiting Hanoi during the Vietnam War. It asks what the position of the intellectual should be in the class struggle and points out the irony of Jane Fonda&#8217;s participation in the photo shoot, which was staged. Godard presents several interesting facts such as the staging of the photo, Jane Fonda&#8217;s rehearsed facial expression, and the inappropriate focus on Jane as the star of the photo rather than the Vietnamese victims whose images are blurred or invisible.<\/p>\n<p>&nbsp;<\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63656526?title=0&amp;byline=0&amp;portrait=0\" height=\"451\" width=\"600\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>1975: Num\u00e9ro 2<\/strong><\/p>\n<p>Die bruchst\u00fcckhafte Darstellung des Alltags einer Arbeiterfamilie und insbesondere der Abh\u00e4ngigkeit der auf Haushalt und Kinder eingeschr\u00e4nkten Ehefrau. Indem Godard hier Film und Video kombinierte, wagte er &#8211; nicht zum letzten Mal &#8211; einen Neuanfang. Bemerkenswert die konsequente Verwendung der &#8222;Splitscreen&#8220;-Technik mehrere Handlungen werden gleichzeitig projiziert. Das Werk eines Filmemachers, der sich best\u00e4ndig Rechenschaft ablegt \u00fcber die Bedingungen seines Mediums &#8211; und \u00fcber die Krisen, die er als Mensch und K\u00fcnstler durchlebt.<\/p>\n<p>&nbsp;<\/p>\n<p>\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/p>\n<p>&nbsp;<\/p>\n<p><strong style=\"line-height: 1.5em;\">Jean-Luc Godard \/ Filmography 1968\u20131978<\/strong><\/p>\n<p><em>Dziga Vertov Group\/political films (1968\u20131972)<\/em><\/p>\n<p>1968 Le Gai savoir (The Joy of Knowing)<br \/>\n1968 Cin\u00e9-tracts<br \/>\n1968 Un Film comme les autres (A Film Like the Others)<br \/>\n1968 One Plus One \u2014 a.k.a. (in a version in which the ending was re-cut by the producer) Sympathy for the Devil<br \/>\n1968 One A.M. (One American Movie) unfinished<br \/>\nincorporated into One P.M. (One Parallel Movie\/One Pennebaker Movie) by D. A. Pennebaker in 1971<br \/>\n1969 Communications unfinished<br \/>\n1969 British Sounds a.k.a. See You at Mao<br \/>\n1969 Pravda<br \/>\n1969 Le Vent d&#8217;est (Wind from the East)<br \/>\n1969 Luttes en Italie (Struggles in Italy)<br \/>\n1970 Jusqu&#8217;\u00e0 la victoire (Until Victory) unfinished<br \/>\n(incorporated into Ici et ailleurs (Here and Elsewhere) by Godard &amp; Anne-Marie Mi\u00e9ville in 1974)<br \/>\n1971 Vladimir et Rosa (Vladimir and Rosa)<br \/>\n1972 Tout va bien (Everything&#8217;s Going Fine)<br \/>\n1972 Letter to Jane<\/p>\n<p>&nbsp;<\/p>\n<p><em>Transitional period (SonImage) (1974\u20131978)<\/em><\/p>\n<p>1974 Ici et ailleurs (Here and Elsewhere)<br \/>\n1975 Num\u00e9ro deux (Number Two)<br \/>\n1976 Comment \u00e7a va? (How&#8217;s It Going?)<br \/>\n1976 Six fois deux, sur et sous la communication (Six Times Two: On and Beneath Communication)<br \/>\n1978 France\/tour\/d\u00e9tour\/deux\/enfants (France\/Tour\/Detour\/Two\/Children)<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kommentierte Filmografie (Auswahl), Vorlesung am 13.6.2012 &nbsp; Bis zum Ende der 1960er Jahre war Godard sehr produktiv, wobei Filme wie Week-End, La chinoise oder Zwei oder drei Dinge, die ich von ihr wei\u00df chronologisch schwer einzuordnen sind, da sie teilweise parallel gedreht wurden. Godard bewegte sich in diesen Werken immer weiter weg vom realistischen Erz\u00e4hlkino [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":68,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-66","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-als"],"_links":{"self":[{"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/posts\/66","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/comments?post=66"}],"version-history":[{"count":10,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/posts\/66\/revisions"}],"predecessor-version":[{"id":648,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/posts\/66\/revisions\/648"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/media\/68"}],"wp:attachment":[{"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/media?parent=66"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/categories?post=66"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-json\/wp\/v2\/tags?post=66"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}