Jean Baudry

This book offers an examination of the political dimensions of a number of Jean-Luc Godard’s films from the 1960s to the present. The author seeks to 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. The chapters present a thorough account of Godard’s investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director’s oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard’s work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard’s ongoing inquiry on the role filmmakers can have in progressive political engagement.

In 1786 the French Navy had just emerged from its most successful war of the eighteenth century, having frequently outfought or outmanoeuvred the Royal Navy in battle, and made a major contribution to American independence. The reputation of its ship design and fighting skills never stood higher, yet within a few years the effects of the French Revolution had devastated its efficiency, leading to defeat after defeat. Fine ships continued to be built, but even under Napoleon's dynamic influence the navy never recovered sufficiently to alter the balance of sea power. It was only after 1815 that the navy revived, espousing technical innovation and invention, to produce some of the most advanced ships of the age.This book is the first comprehensive listing of these ships in English, and follows the pattern set by the companion series on British warships in the age of sail in providing an impressive depth of information. It is organised by Rate, classification and class, with significant technical and building data, followed by a concise summary of the careers of each ship in every class. Thus for the first time it is possible to form a clear picture of the overall development of French warships in the latter half of the sailing era.

VOLUME 2: "Movies and Methods," Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity--from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. -- Publisher description.