Godard's Contempt (Le Mépris) remains one of the most intriguing and critically discussed twentieth century films. An experimental film made with a Hollywood budget and a stellar cast, an adaptation of a famous novel which completely transforms the source material's themes and concerns, and the climax of the Nouvelle Vague, which also signalled its collapse, Contempt contains all these paradoxes as well as being one of the most beautiful movies ever made. The essays collected in Godard's Contempt construct a framework for a renewed set of questions and analyses of Godard's great modern…mehr
Godard's Contempt (Le Mépris) remains one of the most intriguing and critically discussed twentieth century films. An experimental film made with a Hollywood budget and a stellar cast, an adaptation of a famous novel which completely transforms the source material's themes and concerns, and the climax of the Nouvelle Vague, which also signalled its collapse, Contempt contains all these paradoxes as well as being one of the most beautiful movies ever made. The essays collected in Godard's Contempt construct a framework for a renewed set of questions and analyses of Godard's great modern classic. Drawing on work by young scholars from the London Consortium, the essays benefit from their wide range of disciplinary and cultural backgrounds. One of the most exciting recent experiments in graduate education, the Consortium is a partnership of five institutions the Architectural Association, Birkbeck, University of London, the Institute of Contemporary Arts, the Science Museum and the Tate. With an introduction by MacCabe and a post-script by Mulvey, the collection combines work from those most established of film critics with the very freshest and most varied voices.
Colin MacCabe is Distinguished Professor of English and Film at the University of Pittsburgh and Associate Director of the London Consortium. His books include The Eloquence of the Vulgar Cinema, Language and Politics (1999), Godard: A Portrait of the Artist at 70 (2004), T.S. Eliot (2006), and The Butcher Boy (2007). He has also produced feature films, television documentaries and installations, his most recent films are Derek (2008) and Ways of Listening (2012). Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She has written extensively on film and film theory. Her books include Fetishism and Curiosity (1996), Death Twenty-four Times a Second: Stillness and the Moving Image (2006), Experimental British Television (edited with Jamie Sexton, 2007), and Visual and Other Pleasures (2nd edition, 2009). She has co-directed films, including Riddles of the Sphinx (1978) and Frida Kahlo and Tina Malatti (1980), as well as the documentary Disgraced Monuments (1996).
Inhaltsangabe
Preface (Laura Mulvey and Colin MacCabe)
Introduction: Essays from the London Consortium (ColinMacCabe)
1. Le Mépris (Jean-Luc Godard 1963) and its story ofcinema: a 'fabric of quotations' (Laura Mulvey)
2. Foreground, Background, Drama: The Cinematic Space of LeMépris (Ross Exo Adams)
3. Godard's Apart-ment Architectures: The Reality ofAbandonment in Le Mépris (Alice Gavin)
4. 'O gods . . .' Hidden Homeric Deities inGodard's Le Mépris (James Wilkes)
5. Godard's Women (Nicky Falkof)
6. The Signature of the French New Wave (Godard's LeMépris) (Jake Reeder)
7. Le Mépris and the Hollywood musical (JohnShanks)
8. The written and the writing Or how Godard's filmfunctions textually (Elia Ntaousani)
9. Pure Cinema? Blanchot, Godard, Le Mépris (Oliver H.Harris)
10. Stasis and statuary in Bazinian cinema (JonathanLaw)
11. 'FAUX RACCORD': Mismatch, Noise andTransformation in the Work of Jean-Luc Godard (Rob Gallagher)
12. Anti-theatricality and gesture as antidotes to thecommodification of cinema: Godard's Le Mépris andPasolini's La Ricotta (Elena Crippa)
13. 'Not necessarily in that order': Contempt,Adaptation and the Metacinematic (William Viney)
14. 'So What Am I Supposed To Do?' Thoughts ofAction and Actions of Thought in Godard's Contempt (RichardMartin)
15. In Translation: re-conceptualising''home'' through Le Mépris and itssource texts (Jonathan Gross)
16. Producing Prokosch: Godard, Levine, Palance, Minnelli and alament to lost Hollywood (Walter Stabb)
17. Experimenting with Cinema in Godard's LeMe´pris: The Past and the Present Between Possibility andImpossibility (Raphaelle J Burns)
18. Cinema at the Intervals of Cinema (Burhanuddin Baki)
19. Godard's Lingering Camera From Le Mépris toPassion and Back (Anna Manubens)
