Titlebook: Jean-Luc Godard’s Political Filmmaking; Irmgard Emmelhainz Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 Militant cinema.

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書目名稱Jean-Luc Godard’s Political Filmmaking影響因子(影響力)




書目名稱Jean-Luc Godard’s Political Filmmaking影響因子(影響力)學科排名




書目名稱Jean-Luc Godard’s Political Filmmaking網(wǎng)絡(luò)公開度




書目名稱Jean-Luc Godard’s Political Filmmaking網(wǎng)絡(luò)公開度學科排名




書目名稱Jean-Luc Godard’s Political Filmmaking被引頻次




書目名稱Jean-Luc Godard’s Political Filmmaking被引頻次學科排名




書目名稱Jean-Luc Godard’s Political Filmmaking年度引用




書目名稱Jean-Luc Godard’s Political Filmmaking年度引用學科排名




書目名稱Jean-Luc Godard’s Political Filmmaking讀者反饋




書目名稱Jean-Luc Godard’s Political Filmmaking讀者反饋學科排名

Cirrhosis

: Dialogue of Points of View: Jean-Luc Godard and ,ossible to account for one’s position as an external observer? Finally, both Godard and Antonioni tackled the problem of “objectivity” in relationship to objectivity and the circulation of images of conflict “elsewhere” in the mass media.

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迅速飛過

數(shù)量

,Who Speaks ,? Jean-Luc Godard’s ‘Militant Filmmaking’ (1967–74),e as analogous to the class struggle. Two questions that persist in the DVG’s films and that are asked in an array of experimental forms relate first to the representability of the political struggle and indignation, and second, to the authority of the voice of the filmmaker as the harbinger of political change.

Lineage

Book 2019 dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin.

兇猛

debacle

領(lǐng)帶

: Dialogue of Points of View: Jean-Luc Godard and , the Palestinian Liberation Organization. Drawing a genealogy of Western intellectuals’ engagement with Third World struggles, I posit anxiety of blindness and the fear of blind na?ve identification as the key issues Godard grappled with as he completed the film as . in 1974 in collaboration with An

ADAGE

Technique and Montage: Saying, Seeing and Showing the Invisible,to experiment with Anne-Marie Miéville about the means to bring about socio-political change within the framework “journalism of the audiovisual” that implied an “epistemology of seeing.” In this chapter, I analyze Godard’s concept of the “trademark image” in relationship to his embryonic experiment