Godard: photos, Sounds, Politics is a vital step in making experiments in photo and sound past the associations of cinema and tv noticeable. It reads the sooner motion pictures in the course of the more moderen paintings, targeting politics, know-how and sexuality. those insistent topics dominate Godard's research of our illustration within the picture, a illustration consistently inflected through sound. those phrases let us to appreciate extra serious the movement of moeny and pictures during which we take part, a circulate which Godard's paintings cuts across.

Includes essays via Colin MacCabe, Laura Mulvey, and Mick Eaton. additionally gains interviews with Godard, a filmography, and a specific bibliography.

Text: Colin MacCabe with Mick Eaton and Laura Mulvey
Interviews: Jean-Luc Godard
Advice: Ben Brewster
Film availability: Roma Gibson, Robert Beeson, Pam Engel
Photography: Eric Sargent
Production stills: Anne-Marie Miéville
Production: Geoff Jenkins, Vic Fanthorpe, Tim Fox, Steve Redwood, Angela Martin, John Winckler, Tina Rowe
Design: Richard Hollis

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A t th e tim e o f its a p p e a ra n c e l. u C h in o is e w a s v ir u le n tly a tta c okay e d b y M a o is t s , w h o s e p r in c ip a l o b je c tio n w a s th a t th e e m p h a sis o n te rro ris m at th e e n d o f th e movie w a s in t o t a l c o n t r a d ic t io n w ith th e p o lit ic a l an a lysis p r o v identity e d b y M a o is m . yet G o d a r d 's a n a ly sis has, in th e lo n g ru n , p r o v e d m o r e a c c u ra te th an it s e e m e d at th e tim e . T e r r o r is m w a s in c o n t r a d ic t io n w ith tr a d itio n a l L e n in is t e m p h a se s an d w ith M a o T s e - tu n g 's te a c h in g . H o w ever, W e s te rn M a o is m ’ s re je c tio n o f a ll in te rm e d ia te e c o n o m ic an d p o lit ic a l d e m a n d s a n d i h e s u b se q u en t in e v ita b ilit y o f b e tra y a l b y th e d e le g a t e p r o v identity e d b y th e u n io n o r th e c o m m u n is t p a rty d identity o feet e n le a v e v io le n c e as th e o n ly p o lit ic a l s tra te g y . M u c h o f (h e g lo r if ic a t io n o f th e v io le n c e in th ese movie s is o b je c tio n a b le . N e v e rth e le s s , te n ye a rs later, w h e n a p essim istic v ie w m ig h t d isc ern te rro ris m as th e o n ly v is ib le h e r ita g e o f seventy one Y)H, G o d a r d ’ s a n alysis look s m u ch m o r e a c u tc th an his s u p p o s e d ly m o r e p o lit ic a lly . sop h isticated d c ira c to rs a llo w e d a ( (l i e tim e. I f G o d a r d has n e v e r e x p lic it ly c ritic is e d this fea tu re o f h is movie s , Ix - lte r (u J a n e d o c s c ritic is e the p r iv ile g in g o f F o n d a in T o n i v a b ie n , a lth o u g h it truly is u n fo rtu n a te that (h is c ritic is m is m a in ly a im e d b y ih c d ir e c to r s at F o n d a ra th er th an at th e m s elv es . T h e movie is n o t e x p lic itly a b o u t T o u t va b ie n b ut a b o u t a p h o to g ra p h o f Jane F o n d a in N o r t h V ie tn a m w h ic h a p p e a re d in th e p ayes o f m o s t o f th e W e s te r n press in A u g u s t 1972. L e tte r In Jam* a n a ly s e » th e p h o t o g r a p h a n d th e textual content lh a t a p p e a re d w ith it in (h e F rc n ch w e e okay ly L ’E x p r t’ss in o rd e r to re fle c t b o th o n th e prestige o f the im a g e an d o n the p r o b le m , c e n tr a l t o T o u t va b ien , o f th e re los angeles tio n s o f in tellectu als t o tlie r e v o lu tio n . T h e movie takes th e f o r m o r'a m o n ta g e o f nonetheless p h o t o g r a p h s o v e r w h ich G o d a rd an d G o r in sp e ak a com m en tary. A lt h o u g h th e p h o to g ra p h is c o n s identity e rc d fr o m a n u m b e r o f d iffe r e n t p ers p ec tiv es (its c o m p o s itio n , th e (e xt (h at ac c o m p a n ie s it, its re l. a. tio n t o f ilm im a g e s an d s o o n ), its m essag e is fin a lly v e ry s im p le . W h a t e v e r th e g o o d reaso n s th at (h e V ie tn a m e s e h a v e f o r e n s u r in g th at Ih e p h o to g ra p h Fonda’ s re ceives w o r ld - w identity e d is trib u tio n , fr o m p o in t of v ie w (h e p h o tog ra p h s im p ly crys tallis e s a re l. a. tio n to th e r e v o lu tio n th a t T o u t va bien c ritic is e d .

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