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|  | | *** Jean-Luc Godard Collection 13 Films NEW PAL Arthouse 8-DVD Set Wiazemsky France *** | |  |  |  | | | |
Brand new, official studio-released DVD of this great film, imported from France ( La chinoise / Le gai savoir / British Sounds / Pravda / Le vent d'est / Lotte in Italia / Un film comme les autres / Vladimir et Rosa / Num�ro deux / Ici et ailleurs / Comment �a va? / Soft & Hard / Film socialisme ) ( La Chinoise / Joy of Learning / See You at Mao / Pravda / Wind from the East / Struggle in Italy / A Film Like Any Other / Vladimir & Rosa / Number Two / Here & Elsewhere / How Is It Going? / Soft and Hard / Film Socialism )
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| | | Original Title: La chinoise / Le gai savoir / British Sounds / Pravda / Le vent d'est / Lotte in Italia / Un film comme les autres / Vladimir et Rosa / Num�ro deux / Ici et ailleurs / Comment �a va? / Soft & Hard / Film socialisme
| Alternate Title: La Chinoise / Joy of Learning / See You at Mao / Pravda / Wind from the East / Struggle in Italy / A Film Like Any Other / Vladimir & Rosa / Number Two / Here & Elsewhere / How Is It Going? / Soft and Hard / Film Socialism
| | | | Synopsis: | ***WARNING***Original language audio with English & French subtitles***La Chinoise (1967)
French political film about young revolutionaries in Paris.
Joy of Learning (1969)
Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution.
See You at Mao (1970)
Experimental documentary made for London Weekend TV.
Pravda (1970)
A Marxist film about the political situation after the '68 revolution.
Wind from the East (1970)
Movie-within-the-movie, a Western, being shot by a group of would-be Third World moviemakers.
Struggle in Italy (1971)
The film reveals how and why a supposedly revolutionary Italian girl has in fact fallen prey to bourgeois ideology.
A Film Like Any Other (1968)
Workers on a car factory argue with revolutionary students.
Vladimir & Rosa (1971)
Godard and Gorin's free interpretation of the Chicago Eight trial...
Number 2 (1975)
An analysis of the power relations in an ordinary family.
Here & Elsewhere (1976)
Godard, Mi�ville and Gorin examine the parallel lives of two families - one French and one Palestinian.
How Is It Going? (1978)
A film about politics and the media, in which two workers in a newspaper plant attempt to make a film.
Soft & Hard (1986)
Godard and Mieville talk about their films, while doing everyday tasks around their house.
Film Socialism (2010)
Godard returns to the screen with Film Socialisme, a magisterial essay on the decline of European Civilization.
La Chinoise (1967)
A small group of French students are studying Mao, trying to find out their position in the world and how to change the world to a Maoistic community using terrorism.
Joy of Learning (1969)
How do we learn? What do we know? Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions. In addition to the two characters' musings, the soundtrack includes narration, music, news clips, and noise. The result is a montage, a meditation, a reflection on ideas and how words and images mix - and how filmmaking is a path.
See You at Mao (1970)
The main idea of British Sounds is exactly the soundtrack; the images are primarily still, with minimal camera movement: mostly tracks and pans. British Sounds is didactic and academic, but not without artistic merit, particularly the use of red and the jump-cutting fists that punch through the British flag repeatedly. The film has six parts, including the famous ten-minute track through an auto assembly line and a four-minute shot of a woman's nude torso; it is also filled with speech, whether it's a text from Engels read aloud or a newscaster talking about the necessities of burning women and children. A real agit-prop film, but, as Godard said about the later Vladimir and Rosa, also 'a time piece.'
Pravda (1970)
The setting of the film is Czechoslovakia after the Soviet invasion of 1968. In an imaginary conversation in which they attack Soviet revisionism, narrators Vladimir and Rosa (Vladimir Ilyich Lenin and Rosa Luxemburg) discuss, among other topics, the evolution of Communism, the state of the proletariat, and the problems of bureaucracy. The images in the film are dominated by the color red; the recurring visual metaphor is a red rose, which is finally destroyed. The film ends with a view of a truck moving toward the left and flying a red flag while a revolutionary song is played. However, since the camera is tracking left, the red flag disappears to the right in the final scene.
Wind from the East (1970)
Wind From the East is a product of Jean-Luc Godard's involvement, during the late 60s and early 70s, with a collective filmmaking experiment known as the Dziga Vertov Group. The film is, typically of the films he made during this period, about ideas and simultaneously about how best to express those ideas through the medium of film. The film deals with the situation of a strike and, during its first half, methodically analyzes the different components of the strike: the workers, the radical students who encourage the strike while not quite being able to communicate in the same terms as the workers, the union delegates and other middlemen who preach moderation and compromise, the employers who demand the immediate resumption of work, the police state that suppresses the strike on behalf of capitalism.
Struggle in Italy (1971)
Poses the question of what constitutes revolutionary struggle, focusing on the day-to-day life of a woman militant. Paola is an Italian student of bourgeois extraction, but engaged in progressive ideas and action. The film shows, in the form of an essay on dialectical materialism, the struggle between idealism and Marxism in the mind and deeds of Paola.
A Film Like Any Other (1968)
A Film Like Any Other ostensibly represents the final film Godard completed as an individual director before beginning the collaborative projects with the Dziga-Vertov group in 1969. Entirely self-produced by Godard using his Anouchka Films company, the film is indicative of Godard's increased politicisation, an unwillingness to compromise the political message of his work, and representative of the independent filmmaking means which Godard would pursue in his work throughout the early 1970's.
Vladimir and Rosa (1971)
Vladimir and Rosa makes for engaging political satire crossed with surprisingly effective courtroom drama. A free jazz riff on the trial of the Chicago Eight, the film replaces most of the actual people with deliberate archetypes of sociopolitical outsiders, and the actors use their real names. Anne Wiazemsky appears as a women's lib feminist, Juliet Berto a hippie from a commune, Yves Afonso as a protesting student who appears at the limits of his commitment to nonviolence, etc.
Number Two (1975)
Focus on a middle-class working family, a chronicle of the interpersonal relationships of husband Pierre and wife Sandrine, with emphasis on their sexual problems.
Here and Elsewhere (1976)
Ici et Ailleurs marks the beginning of Godard's transitional period, which found him experimenting with video and moving from political polemics to an examination of the way people perceive themselves and others; as such, it shares many of the traits of both his radical-era films and the video-centered work that followed while simultaneously providing a critique of the Dziga Vertov Group's ideas and methods. It is also one of his first projects with Mi�ville, who has remained the major collaborator in his life and work since.
How Is It Going? (1978)
Godard and Mi�ville reflect once again on the semiotics of the image in Comment ca va? Two workers for a communist newspaper spend their evenings discussing and editing a film they are making on the production of the newspaper. As in Ici et ailleurs, the woman critiques the man's complacent and unquestioned political aesthetic. Viewing a straightforward documentary segment the man has edited without her consent, the woman - whose face is never shown - claims they don't know how to see anything, not even the typewriters that are being used by the (female) workers in the film. She claims, ''what is unseen is what directs,'' and that unseen is ''the look.'' The two of them proceed to investigate the act of typing and then exhaustively interrogate the meaning of a single photograph. When their film is complete, however, they find that the local communist organization, despite its promises, has chosen not to disseminate their work.
Soft and Hard (1986)
Conversations between film-makers Jean-Luc Godard and Anne-Marie Mieville based on ideas about relationships between technology, sexuality, media and everyday life, shot at their home in Rolle in Switzerland.
Film Socialism (2010)
A symphony in three movements. Things such as a Mediterranean cruise, numerous conversations, in numerous languages, between the passengers, almost all of whom are on holiday... Our Europe. At night, a sister and her younger brother have summoned their parents to appear before the court of their childhood. The children demand serious explanations of the themes of Liberty, Equality and Fraternity. Our humanities. Visits to six sites of true or false myths: Egypt, Palestine, Odessa, Hellas, Naples and Barcelona.
La Chinoise (1967)
La Chinoise is a 1967 French political film directed by Jean-Luc Godard about young revolutionaries in Paris.
Joy of Learning (1969)
Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions.
See You at Mao (1970)
Jean-Luc Godard made the hour-long 1969 experimental documentary British Sounds also known as See You at Mao for London Weekend TV in 1969.
Pravda (1970)
Pravda was filmed in Czechoslovakia on 16mm. It's one of the films Godard made with the Groupe Dziga Vertov - a Marxist film about the political situation after the '68 revolution. Basically, it is an hour's worth of montage of very interesting documentary images with voice-over. One memorably Godardian moment is when a man is shown speaking Czech and the narrator doesn't translate - he just says 'If you don't understand Czech, you better start learning'.
Wind from the East (1970)
Le vent d'est begins with fleeting bits of business from the movie-within-the-movie, a Western, being shot by a group of would-be Third World moviemakers. Almost immediately it turns into a soundtrack debate of Godardian dialectics, set against images that could be from some kind of crazy Western. This evolves into auto-critique ('What does it mean to ask the question: 'Where are we now?' for a militant moviemaker?') that is followed by a coda, which is nothing less than some pretty pictures of a school girl planting bombs in an open-air market.
Struggle in Italy (1971)
The film reveals how and why a supposedly revolutionary Italian girl has in fact fallen prey to bourgeois ideology.
A Film Like Any Other (1968)
Workers on a car factory argue with revolutionary students.
Vladimir and Rosa (1971)
In Godard and Gorin's free interpretation of the Chicago Eight trial, Judge Hoffman becomes Judge Himmler (who doodles notes on Playboy centerfolds), the Chicago Eight become microcosms of French revolutionary society, and Godard and Gorin play Lenin and Karl Rosa, respectively, discussing politics and how to show them through the cinema.
Number Two (1975)
An analysis of the power relations in an ordinary family.
Here and Elsewhere (1976)
Godard, Mi�ville and Gorin (aka the 'Dziga Vertov Group') examine the parallel lives of two families - one French, one Palestinian - using an exploratory combination of film and video.
How Is It Going? (1978)
A film about politics and the media, in which two workers in a newspaper plant attempt to make a film.
Soft and Hard (1986)
Jean-Luc Godard and Anne-Marie Mieville talk about their films, while doing everyday tasks around their house.
Film Socialism (2010)
Legendary director Jean-Luc Godard returns to the screen with Film Socialisme, a magisterial essay on the decline of European Civilization. As a garish cruise ship travels the Mediterranean (with Patti Smith among its guests), Godard embarks on a state of the EU address in a vibrant collage of philosophical quotes, historical revelations and pure cinematographic beauty. |
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