#Jean-Luc Goddard

[lonelypond]

""Closer, Closer," Says Love

Nishikino Maki & Umi Sonoda, Love Live, 1K, 1/1

Summary: Maki and Umi talk movies and Nico.

""Closer, Closer," Says Love"

Umi Sonoda’s brisk pace kept Nishikino Maki from dropping into a sleep deprived haze.

“Will your schedule still accommodate viewing Alphaville this Sunday?”

“Sure.” Then Maki hesitated, “Wait, I have to check the joint calendar.”

“Joint calendar?”

“Nico set up a joint calendar for us so everyone she knows in Theatre or RTVF can get headshots without her giving them my number.”

There was silence from Umi, but it was expectant silence.

“Nico liked the headshots I took of her a lot, so her new plan to take over both New York and LA is to have everyone at Northwestern have the” Maki altered her voice slightly, “number one headshot photographer in the universe” take theirs and land more jobs. More NU alums in jobs means more NU networking means Nico gets her EGOT faster.”

Umi blinked, humming. “Impressive strategizing.”

“We’re damn lucky Nico’s not an ancient daimyo demanding we conquer the Loop to grow her collection of theatres.”

“My sword awaits her summons.” Umi chuckled.

Maki paused, “Never say that around Nico. She might just take you seriously.”

“You say that seriously.”

“I mean it seriously. She gets this glint in her eye and all these plans come spilling out and they can start to sound very convincing. It’s too easy to get caught up. She never stops to breathe so you can’t just casually divert the conversation.” Maki smiled, just for a second, “I have tried.”

“She is a very ambitious woman.”

“Yep.”

“I respect that.”

“Me too.” Maki rubbed her chin, “but…”

“But?”

“Nevermind.”

“It sounds” Umi paused. “Serious.”

“I’m banning that word for the rest of … ever.” Maki groaned, “Nico’s like the weather. She has the same effect on everyone. I’m not special.”

“I don’t think that’s true. Not many people take her plans serio…” Umi coughed, “To rephrase, I have spoken to uninformed persons who believe Nico’s impulsiveness means she lacks gravitas, that’s she’s just hastily grasping for whatever the wind blows by.”

“That’s not true. Sure, Nico grabs what life gives her, but she puts in the work. It’s all part of the Nico Plan. Which is on public display. Like a museum exhibit. She wrote it all down. I don’t know when she ever rests.” Maki glared at Umi. “Do people really say that about her?”

Umi had both hands raised in a placating gesture, “I have a different opinion, as do you. And we both know Nico appreciates your support for her efforts at world domination.”

“You make me sound like a villain’s sidekick.”

“Are you more of an investor then?”

Maki shook her head, “She doesn’t take money.”

“Neither do you, I suspect.”

“Not completely accurate. Nico says everybody thinks too cheap is a scam so we decided, 1 hour per person at $100 an hour, but there’s a 50% friend of Nico discount. And all of them manage their own prints, which is most of the expense. And the bother. I have nothing to do with that part.” Maki grinned, “Also, Nico makes me lunch and snacks.”

“Sounds very well organized. Is it impacting your studies?”

“I was already frustrated with classes. And no, I’m being careful with the scheduling.” Maki’s pace slowed, “But sometimes, I…can’t get people out of my head.”

“What do you mean?”

“I get curious about them or rehearse conversations or…” Maki shrugged, “Sometimes, I get tired and talk too much.”

“So you would rather ignore your subjects?”

“No, casual conversations are fine. But with a few of them, there’s this fluttering of connection and it’s aggravating. It's always happened; it's always bothered me. It’s why I started wondering if demisexual was a better label for me.”

“Why is it aggravating?” Umi prompted. Maki didn’t often talk about feelings, but tonight, she seemed to need a friendly ear.

“Because…” Maki frowned, “I suppose it’s like a false clue? It seems to mean something, takes up as much time as a real clue, but then it just kind of blanks.”

“Maybe we should talk about that at the next meeting.” While nearly everyone believed Umi and Maki had met and continued to meet at the Classic Film Club, that was a cover story because neither of them wanted to discuss their involvement in the campus Asexual Alliance. Umi identified as both poly and aromantic and appreciated being able to vent with others who felt like amatonormativity was a treacherous snare pop culture left everywhere.

“Maybe. I’ve started to recognize the signs so it’s easier to deal with. I just shove it in the ‘I’ll be over this in three sleepless nights” corner of my mind.”

Umi laughed, “It still sounds tiring.”

“Only for another week or so. There’s only so many performance majors. Alphaville will be a nice break. Oh, Nico wants to watch with us. I swear she thinks more like a director than an actor. She’s been texting me Goddard facts and quotes every day. Today, she sent me a list of the films he shot on video as suggestions for our next movie night.”

“I didn’t know video was in use that long ago.”

“If it was the 70’s and you were Jean-Luc Goddard, it was.”

“How interesting.”

Maki had picked up her pace again. She was walking Umi home and then stopping by Nico’s dorm after for snacks and video games.

“She is.”

“Please tell her my pen is at her disposal should she wish to experiment on video or film.”

“Your pen being mightier than your sword?” Maki stretched her arms out.

Umi chuckled.

They’d reached Allison Hall, where Umi shared a triple with Kotori Minami and Honoka Kousaka. Umi stopped for a parting exchange. “Thank you for the company, Maki. Please tell Nico I look forward to including her perspective in our movie nights.”

“I’m not offering her your sword or pen though.” Maki scuffed a heel.

Umi nodded, “That is probably best done by me, face to face, with my instrument in hand.”

Maki kickscraped a small pebble at Umi, then nodded, “See you Sunday.”

“Get some sleep, my friend.”

Umi watched Maki wave and walk toward CRC. Whatever relationship Nico and Maki had, Maki definitely seemed to feel a magnetic pull toward the dainty dynamo’s location. Umi wished her luck navigating that tide. Meanwhile, Nico was certainly going to add a refreshing spin to their discussions. A Goddard quote came to Umi’s mind, “Away, away,” says hate. “Closer, closer,” says love.”

A/N: Howdy! Tempted to change the name of the series to something like Muse Makes Movies since really no Goncharov knowledge is necessary. Thanks for stopping by. I'm liking these conversations; I hope you are too.

[ludmilachaibemachado]

Jean-Paul Belmondo and Anna Karina in Godard's Pierrot le Fou (1965)🌹

Via @thereal60sbazaar on Instagram🌹

[schlock-luster-video]

On July 26, 1968, Masculin Feminin debuted in Mexico.

[angelicxi]

the 1920s had dadaism. we have goncharov.

[instantdivination]

[psykopaths]

All the boys are called Patrick (1959)

Dir Jean-Luc Goddard

[guy60660]

Jean-Luc Goddard

[decepti-thots]

hyperspecific facts that sound like contextless headcanons that started as injokes but are in fact canon: whirl likes jean-luc goddard films(???)

[burtlancster]

Burt Lancaster by Sydney Pollack — for Double Exposure: Take Two compiled and photographed by Roddy McDowall

In 1960 I was what used to be called a dialogue coach on a film entitled The Young Savages, directed by John Frankenheimer. I was twenty-six years old, had never been to Hollywood, and was scared as hell about being on a movie set. The film starred Burt Lancaster, one of the handful of motion picture superstars in the world. I walked on the set the first day (trying to be as inconspicuous as possible) and gathered together the three young actors who were to be my charges, in order to whisper a few last-minute suggestions into their respective ears before the first take. "Hey, kid . . . ," Lancaster shouted commandingly from across the set, ". . . what the hell are you telling those boys?" I turned, probably blushing, and actually tried to answer the question. Without knowing it, that was the first real step I took toward becoming a film director—under Burt's encouragement and prodding.

The first time I ever saw Burt Lancaster in person, he was standing in a doorway. I had an image of him putting his arms out, pushing lightly against the door jamb—and the ceiling and office coming down. He seemed too big for the doorway. When he came into the room he seemed too big for the room.

He is big, but not exceptionally so, certainly not by the standards of today's athletes. This impression comes from something else. From inside—an essence. Burt is a New York street-kid-intellectual. He's a stickball player who reads poetry and sings opera—a Harlem-neighborhood roughneck who devours every intellectual novel he can get his hands on. He loves to discover it all to argue, to work it over. His eyes glow, his gestures punch the air wildly; "Now think about this-here . . . !" he will exclaim, slipping into the New York east side argot of his youth.

When he was just out of high school he ran away from Harlem and joined the circus. No joke—he really ran away and joined the circus! And he "flew through the air with the greatest of ease." In 1967 he was still doing it. I used to go down to the gym on the old Goldwyn lot during lunch hour and watch him do giant-swings. Giant-swings without a safety rope and no one to spot him. He was in his fifties then, and could and did work all of us into the ground.

He taught himself to act. He literally made himself into a dynamic and complex actor. He did it with insatiable curiosity and endless hours of work. He has a singularity of focus and concentration that is like a laser. He's also comfortable in his own skin, enough so that he wastes no time feeling poorly about criticism. He takes from it what is there to be learned and simply gets on with it.

On screen, he was a dynamo. He still is, when he wants to be, but something else has been added; a grace, an elegance, a quietness, a modesty, an understanding about simplicity.

He was always so appealing on screen that most Americans thought he was just a great movie star. In Europe they knew better—the French, the Germans and Scandinavians, the Italians. When Visconti chose him for The Leopard there were a few raised eyebrows here. Not after they saw the picture. Do yourself a favor; if it's ever available—watch it. He is remarkable.

There's nothing devious about him; he leaves that to others. But a word of warning to anyone who tries it on him: he can't be fooled. I mean it.

He doesn't depend on reports—from critics, from agents, from heads of studios—on how he's doing. He knows how he's doing. His fortune doesn't rise or fall on the results of his latest picture. He knows better than the ups and downs. He always has known.

There's a movie by Jean-Luc Goddard, an early one, with Belmondo, where during a love scene Belmondo says to the girl, "Let's go to the movies, there's a picture with"—and he looks directly into the camera and smiles—"Burt Lancaster." It's a kind of renown that can't be explained in the usual terms. It has not much to do with grosses and less to do with blondness of hair or bone structure. And it can't be attributed to a certain picture, one picture that made him.

He made himself.

[uno-universal]

Jean Seberg in the 1960s film Breathless by Jean-Luc Goddard

[artemisia-black]

What's your favorite movies and directors?

Ooh so favourite movies:

Practical Magic, The Godfather trilogy, everything by Sofia Coppola (but particularly lost, Priscilla and Marie Antoinette), the talented Mr Ripley, Caramel, Jules et Jim, the Leopard, Bright star, The Duchess, Silence, Clueless, the craft, I married a witch, Call me by your name, in the mood for love, the great beauty and Contempt.

Favourite directors: Sofia Coppola, Scorsese, Jean Luc Goddard and David Fincher.

[oldshowbiz]

Jean-Luc Goddard becoming “a shade too avant.”

[ludmilachaibemachado]

Chantal Goya, shooting the 'Masculin Feminin' By Jean-Luc Godard. November, 23,1965. Photo by Philippe Tellier🌹🪷🌹

Via @isabelfutre on Instagram🪷

[schlock-luster-video]

On March 6, 1969 Le petit soldat debuted in Uruguay.

Here's a new portrait of Jean-Luc Goddard!

[banananutmilk]

Have movies changed dramatically since 1965? (Film Final) By Jacob Christopher

Film has evolved a lot since the 60s, however if one aspect of film’s history stayed true to itself it’s the new wave’s capability to avert expectations and challenge the norms of cinema. Movies have always been dynamic since it’s early predecessors of studio movies, however the birth of New Wave cinema is the years of the 1950s and early 60s emerging as the French New Wave, grabbed the narrative and placed it within the hands of the director. Such as an author to a book, the vision of a film should be the personal reflection of a individual’s story. 

 Where many characteristics that may be observed in the production are smaller budgets and unconventional cinematography choices. Along with the innovative directors such as Agnes Verada, Francois Truffaut and the director of A Bout De Souffle, Jean Luc Goddard. The idea became popular, for a director using their camera as a writer’s pen is seen exemplified in the handheld techniques instrumented in their film. Presenting more of a documentary-like form of filming, utilizing as much natural lighting as possible, as well as the following of characters on screen. Many of the innovations within this period are still seen throughout many of the directing choices utilized in modern independent films. 

The Impact of New Wave Cinema

France emerged from World War II in the 1960s, rebuilding the country physically and the nation's national identity through the French Fifth Republic. Under the leadership of President Charles de Gaulle. New Wave Cinema, or "Nouvelle Vague," emerged in France in the late 1950s and 1960s, revolutionizing the film industry with its innovative techniques and storytelling. This movement was characterized by smaller budgets, unconventional cinematography, and innovative narrative structures that challenge traditional filmmaking norms and paving the way for future avant-garde cinema. Often worked with limited financial resources, leading to a more spontaneous and creative approach to filmmaking. This constraint encouraged the use of real locations, natural lighting, and non-professional actors, which contributed to the authenticity and rawness of the films. Techniques such as handheld camera work, natural lighting, and innovative angles were used to create a sense of immediacy and realism. These methods broke away from the polished look of mainstream cinema, bringing a fresh, dynamic visual style to the screen. Focusing on character development and emotional depth, prioritizing personal and psychological experiences over coherent story arcs. Jean Luc Godard's A Bout de Souffle (Breathless) is an iconic New Wave film, exemplifying the movement's groundbreaking techniques and themes. Godard employs jump cuts to disrupt the narrative flow and create a sense of disorientation and immediacy. This technique defies the classical continuity in editing, drawing attention to the deconstructed nature of it’s cinema.

 Exemplified in the scene of Michel killing the cop, the camera pans up close to Michel, shows the gun, the cop keeling over, then Michel running away. A scene that is captured in 5 shots within 15 seconds, Goddard has broken the action to it’s barest of essence and robs Michel of any glory.

Social and Political Contextualization in Film 

“Of course, Head is an utterly and totally fragmented film. Among other reasons for making it was that I thought I would never get to make another movie, so I might as well make 50 to start out with and put them all in the same feature." - Bob Rafelson

Released in 1968 Head is a film celebrated not for its plot, but for its lack thereof. Released alongside a corresponding album, the film showcases The Monkees navigating a series of hijinks on their movie set, enveloped in a surrealist narrative. The film employs a satirical, tongue-in-cheek approach to its humor and messaging, expressed through its dialogue and formalistic technique cinematography. The Monkees, Hollywood’s TV answer to The Beatles, blurred the lines between actors and musicians, rising to fame from the mid-sixties to 1967. Head is a film that should be seen through the lens of its social and political contexts, examining how it addresses issues of gender, race, social class, and equality.

Head serves as a medium for social and political commentary, using its disjointed narrative to reflect the disillusionment and unrest of the late 60s. The film's satirical tone critiques the media, the entertainment industry, and the political establishment of the time, making it a subversive piece of art. Head addresses class issues subtly, critiquing the consumerism and artificiality of Hollywood and the music industry. The Monkees, as a manufactured band and brand, symbolize the commodification of art and the superficiality of fame. 

Released during a period of significant social protest, the Vietnam War and civil rights movement profoundly affected American society. The film's chaotic style and fragmented narrative can reflect the contemporary sense of confusion and upheaval, making it a time capsule of 1968’s cultural and political landscape. The inclusion of real footage of the execution of Nguyễn Văn Lém, grounds the film in the tumultuous reality of its time. These shocking images juxtaposed with the Monkees’ antics create a jarring contrast that forces the audience to confront the harsh truths of the era.

The 90’s Film Genres and Styles

The 1994 Hong Kong electoral reform was a set of significant constitutional changes in the last years of British colonial rule in Hong Kong before the handover of its sovereignty to the People's Republic of China 

Wong Kar-Wai’s auteur philosophy is deeply rooted in his approach to storytelling and visual aesthetics. He often collaborates with cinematographer Christopher Doyle, whose innovative use of color and composition enhances the emotional depth and visual impact of Wong’s films. Together they create a cinematic language that is both visually stunning and thematically rich, allowing the audience to experience the characters’ emotions and the city’s atmosphere in a visceral way.

In Chungking Express, Wong Kar-Wai’s focus on character driven narratives and the exploration of existential themes sets him apart as an auteur. His films often eschew traditional plot structures in favor of a more impressionistic approach, capturing the rhythms and nuances of everyday life. This philosophy aligns with the principles of the New Wave movement, which prioritizes artistic expression and innovation over commercial considerations.

Despite the innovative and avant-garde approach of Chungking Express, certain conservative elements persist within its genre and storytelling techniques. The film retains a focus on universal themes of love and heartbreak, which have been central to storytelling across cultures and eras. These themes provide a sense of familiarity and emotional resonance for audiences, grounding the film’s more experimental aspects in relatable human experiences.

Furthermore, Wong Kar-Wai’s use of romantic melodrama and noir elements ties Chungking Express to traditional genres while reinterpreting them through a contemporary lens. The film’s emphasis on visual style and mood over plot driven narratives echoes classic noir films, yet it subverts genre conventions by infusing them with a modern sensibility and a unique cultural context.

The Modern influences of New Wave cinema exemplified through Tangerine (2015)

Sean Baker's 2015 film Tangerine is a modern exemplar of New Wave cinema, demonstrating how innovative techniques and bold storytelling can create a significant cultural impact. Utilizing a estimated budget of $100,000 and grossing approximately $924,793 worldwide, Tangerine stands out not only for its financial success but also for its groundbreaking use of technology and its commitment to authentic representation. At its core, Tangerine is a film deeply engaged with social issues, particularly those faced by the transgender community. By casting transgender actresses Kitana Kiki Rodriguez and Mya Taylor in leading roles, the film brought much-needed visibility and authenticity to transgender representation in cinema. The narrative, focusing on friendship, identity, and survival, offers a poignant and often humorous look at the struggles and resilience of minorities in urban environments. This focus on authentic representation contributed to the broader cultural shift towards inclusivity in media.

At its core, Tangerine is a film deeply engaged with social issues, particularly those faced by the transgender community. By casting transgender actresses Kitana Kiki Rodriguez and Mya Taylor in leading roles, the film brought much needed visibility and authenticity to transgender representation in cinema. The narrative, focusing on friendship, identity, and survival, offers a poignant and in humorous tone, looks at the struggles and resilience of minorities in urban environments. This focus on authentic representation contributed to the broader cultural shift towards inclusivity in media.

Tangerine was widely praised for its performances, direction, and innovative production techniques. Released at a time when conversations around transgender representation in media were gaining prominence, the film played a crucial role in advancing these discussions. Its success earned numerous awards and accolades, highlighting the importance of diverse voices in cinema. Furthermore, Tangerine demonstrated the potential of technology to democratize the filmmaking process, inspiring a new generation of filmmakers to embrace innovative and accessible methods.

Critical Resources

Tangerine Critical Resource

Within this dissertation by Paula Lopez, we examine the impact of two films that include transgender representation within their lens, one being Tangerine, giving visibility to the transgender community

Chungking Express Critical Resource

This essay explores the pivotal roles that film festivals such as the ones in Berlin, Venice and New York. Where the evidence becomes relevant to my film is the evidence of Quintin Tarantino's crucial role in helping to distribute  Chungking Express to the United States movie market.

Head Critical Resource

In this text we revisit the cultural relics of members from The Monkees, where at the pinnacle of their careers they destroyed it to the best of their abilities. Discussing the legacy and impact of the 1968 film Head on The Monkees, highlighting conflicting emotions among band members decades later.

A Bout de Souffle  

This article focuses on a specific, pivotal six-second shot from Jean-Luc Godard's film A Bout de Souffle, examining its intertextual significance. The shot occurs towards the end of the film, where the protagonist Michel Poiccard, played by Jean-Paul Belmondo, is seen scrutinizing a pile of books in a room with Patricia. The scene is filmed from Michel's point of view, with Mozart playing on a record player in the background. The camera zooms in on a book cover that provides crucial information: it's Maurice Sachs' novel Abracadabra, featuring a Lenin quote on a promotional band: "Nous sommes des morts en permission" (We are dead men on leave). The article delves into the implications of this shot within the film's narrative and its broader thematic and intertextual contexts.

Final Thoughts

Reflecting on these films, it’s evident that cinema continues to balance innovation with tradition, responding to and shaping cultural and societal norms. From the groundbreaking techniques of the New Wave to the modern influences seen in films like Tangerine, filmmakers challenge conventions and push boundaries, ensuring that cinema remains a dynamic and evolving art form.

Links to other students

Cris Nye Reservoir Dogs/ Tangerine Comparison

Carly Leavitt-Hullana Twin Peaks/ Chungking Express Comparison

Riley Goodale A Hard's Day Night Film Essay

[vanishingmoments]

i think at this point there's far more "You dont like the MCU and you watch Jean-Luc Goddard movies? lol fuck you filmbro you're a snob" movie snobs around than there is "you should watch REAL cinema" movie snobs