Duras Godard Dialogues

"The two demonstrate a profound shared passion, a way of literally being one with a medium and speaking about it with a dazzling lyricism interspersed with dryly ironic remarks, fueled by a conviction that inspires them to traverse history. Their point of intersection is obvious. Duras, a writer, is also a filmmaker, and Godard, a filmmaker, has maintained a distinctive relationship with literature, writing and speech."--Cyril Béghin, back cover.

"A comparative look at the work of Chinese filmmaker Jia Zhangke by celebrated critic Jean Michel Frodon. Includes an extensive interview with Jia, essays on each of his films, conversations with his main collaborators, and a selection of his own writings. "--Page 4 of cover.

Probably the most prominent living filmmaker, and one of the foremost directors of the postwar era, Jean Luc-Godard has received astonishingly little critical attention in the United States. With Speaking about Godard, leading film theorist Kaja Silverman and filmmaker Harun Farocki have made one of the most significant contributions to film studies in recent memory: a lively set of conversations about Godard and his major films, from Contempt to Passion. Combining the insights of a feminist film theorist with those of an avant-garde filmmaker, these eight dialogues–each representing a different period of Godard's film production, and together spanning his entire career–get at the very heart of his formal and theoretical innovations, teasing out, with probity and grace, the ways in which image and text inform one another throughout Godard's oeuvre. Indeed, the dialogic format here serves as the perfect means of capturing the rhythm of Godard's ongoing conversation with his own medium, in addition to shedding light on how a critic and a director of films respectively interpret his work. As it takes us through Godard's films in real time, Speaking about Godard conveys the sense that we are at the movies with Silverman and Farocki, and that we, as both student and participant, are the ultimate beneficiaries of the performance of this critique. Accessible, informative, witty, and, most of all, entertaining, the conversations assembled here form a testament to the continuing power of Godard's work to spark intense debate, and reinvigorate the study of one of the great artists of our time.

First published in France in 2013, My Mother Laughs is the final book written by the legendary and beloved Belgian artist and director Chantal Akerman (1950-2015) before her death. A moving and unforgettable memoir, the book delves deeply into one of the central themes and focuses of Akerman's often autobiographical films: her mother, who was the direct subject of her final film No Home Movie (2015). With a particular focus on the difficulties Akerman faced in conjunction with the end of her mother's life, the book combines a matter-of-fact writing style with family photographs and stills from her own films in order to better convey the totality of her experience. Akerman writes: "With pride because I believed at last in my ability to say something that I'd had trouble saying. I told myself, I am strong for once, I speak. I speak the truth."

Jodorowsky’s memoirs of his experiences with Master Takata and the group of wisewomen--magiciennes--who influenced his spiritual growth • Reveals Jodorowsky turning the same unsparing spiritual vision seen in El Topo to his own spiritual quest • Shows how the author’s spiritual insight and progress was catalyzed repeatedly by wisewoman shamans and healers In 1970, John Lennon introduced to the world Alejandro Jodorowsky and the movie, El Topo, that he wrote, starred in, and directed. The movie and its author instantly became a counterculture icon. The New York Times said the film “demands to be seen,” and Newsweek called it “An Extraordinary Movie!” But that was only the beginning of the story and the controversy of El Topo, and the journey of its brilliant creator. His spiritual quest began with the Japanese master Ejo Takata, the man who introduced him to the practice of meditation, Zen Buddhism, and the wisdom of the koans. Yet in this autobiographical account of his spiritual journey, Jodorowsky reveals that it was a small group of wisewomen, far removed from the world of Buddhism, who initiated him and taught him how to put the wisdom he had learned from his master into practice. At the direction of Takata, Jodorowsky became a student of the surrealist painter Leonora Carrington, thus beginning a journey in which vital spiritual lessons were transmitted to him by various women who were masters of their particular crafts. These women included Doña Magdalena, who taught him “initiatic” or spiritual massage; the powerful Mexican actress known as La Tigresa (the “tigress”); and Reyna D’Assia, daughter of the famed spiritual teacher G. I. Gurdjieff. Other important wisewomen on Jodorowsky’s spiritual path include María Sabina, the priestess of the sacred mushrooms; the healer Pachita; and the Chilean singer Violeta Parra. The teachings of these women enabled him to discard the emotional armor that was hindering his advancement on the path of spiritual awareness and enlightenment.

This book proposes, following Antonin Artaud, an investigation exploring the virtual body, neurology and the brain as fields of contestation, seeking a clearer understanding of Artaud's transformations that ultimately leads into examining the relevance Artaud may have for an adequate theory of the current media environment. New Media and the Artaud Effect is the only current full-length study of the relation of Artaud’s work to dilemmas of digital art, media and society today. It is also singular in that it combines a far-reaching discussion of the theoretical implications and ramifications of the ‘late’ or ‘final’ Artaud, with a treatment of individual media works, sometimes directly inspired from Artaud’s travails. Artaud has long been justly regarded as one of the seminal influences in mid- and late-20th century performance and theater: it is argued here that Artaud’s insights are if anything more applicable to digital/post-digital society and the plethora of works that are made possible by it.

Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on Andre Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors Francois Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, Agnes Varda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.Key Features:A wide-ranging study which explores the complex, often ambiguous ways in which the New Wave engages with the other arts in both its discursive construction and cinematic practiceAffords a new prism for understanding New Wave filmmaking and its legacy through comprehensive analysis of the ways in which the New Wave aesthetic was shaped through intermedial dialogue and medium rivalry Reassesses one of the most acclaimed movements in film history drawing on cutting-edge theory in the prominent field of intermediality studiesOffers an inclusive, heterogeneous view of the New Wave through inclusion of lesser-known directors such as Guy Gilles, Jean-Daniel Pollet and Jacques Demy alongside renowned Nouvelle Vague filmmakers

"I seem to live: the New York diaries, 1950-2011 is Jonas Mekas's key literary work. The first volume of this magnum opus, covering the period from 1950-1969, appears posthumously in the year of his death. It stands on an equal fooing with his cinematic oeuvre, which he initially developed together with his brother Adolfas after their arrival in New York. In 1954, the two brothers founded Film Culture magazine, and a weekly column for The Village Voice. It was in this period that his writing, films, and unflagging commitment to art began to establish him as a pioneer of American avant-garde cinema and the barometer of the New York art scene. An assemblage of Jonas's diaries from this exciting period, enriched with his own personal visual material, I seem to live: the New York diaries, vol. 1, 1950-1969 reads as a moving and subjectively condensed chronology of the postwar New York underground scene, which he shaped and defended through his writings"--Page 4 of cover