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This title in other editions

Everything Is Cinema: The Working Life of Jean-Luc Godard

by

Everything Is Cinema: The Working Life of Jean-Luc Godard Cover

 

Review-A-Day

"It is due to the cinema's past universality and present blockbuster mentality that mass appeal would seem to hold the measure of an artist's achievement. What is truly remarkable is that Godard ever had a public at all. Now, as always, he makes movies to suit himself." J. Hoberman, Harper's Magazine (read the entire Harper's review)

Synopses & Reviews

Publisher Comments:

When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images — cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as if not the key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.

In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the directors early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers.

Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.

Review:

"Everything Is Cinema is better than a biography, it is a novel. And a great novel, in which one discovers the story of a man who almost picked the wrong art form, a struggling writer who became an immense filmmaker."Bernard-Henri Lévy, author of American Vertigo

Review:

"[S]erious-minded and meticulously detailed . . . account of the lifelong artistic journey...of one of the most influential filmmakers of our age". The New York Times

Review:

"Richard Brody's biography of Godard — arguably the most important, enigmatic, and exciting filmmaker of the second half of the 20th century — effortlessly weaves intellectual history, a personal saga, and an authoritative reading of the films themselves into a seamless web. It virtually crackles with intelligence, and is a must read for anyone interested in cinema." Peter Biskind, author of Gods and Monsters: Thirty Years of Writing on Film and Culture

Review:

"Full of lucid analysis and human context, Richard Brody's book performs a heroic act in rescuing Godard and his growing shelf of works from the prison of myth and theory, from the cult of youth and the cult of the '60s, restoring him to his place as an engaged, hard-working artist." Jonathan Lethem, author of The Fortress of Solitude

Review:

"Godard changed the movies as much as the American masters he grew up on: Welles, Hawks, Hitchcock, and the rest. He is as original as Picasso — but unlike Picasso, he has been denied the biography he has always deserved. This is it. Just at the moment when the New Wave turns fifty, Richard Brody has given us Everything is Cinema, a remarkable book which describes with sharp intelligence a great and elusive artist's times, intellect, passions, and work." Wes Anderson, writer and director of Rushmore, The Royal Tenenbaums, and The Life Aquatic

Book News Annotation:

Brody, an editor and writer for The New Yorker, has written this extensive biography on French filmmaker Jean-Luc Godard for students and scholars who are equally interested in his technical innovations, his politics and his tumultuous personal life. The author uses interviews with family members, film crews, financial backers, personal friends and even Godard's "enemies" to reveal his radical social views, business acumen and strained relationships with fellow artists from the French New Wave movement. Godard's early years as a writer for such publications as Cahiers du cinéma are also discussed. Annotation ©2009 Book News, Inc., Portland, OR (booknews.com)

Synopsis:

A “serious-minded and meticulously detailed . . . account of the lifelong artistic journey” of one of the most influential filmmakers of our age (The New York Times)

When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godards work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.

In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godards technical inventions as to the political forces of the postwar world, Brody traces an arc from the directors early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godards wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers.

Everything Is Cinema confirms Godards greatness and shows decisively that his films have left their mark on screens everywhere.

Synopsis:

A “serious-minded and meticulously detailed . . . account of the lifelong artistic journey” of one of the most influential filmmakers of our age (The New York Times)

When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godards work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting imagescultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as aif not thekey influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.

In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godards technical inventions as to the political forces of the postwar world, Brody traces an arc from the directors early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godards wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers.

Everything Is Cinema confirms Godards greatness and shows decisively that his films have left their mark on screens everywhere.

Richard Brody, a film critic and editor at The New Yorker, is also an independent filmmaker who lives in New York City. Everything Is Cinema is his first book.
When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godards work shifts fluidly from fiction to documentary, from criticism to art. Godard himself also projects shifting imagescultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as aif not thekey influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.

In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godards technical inventions as to the political forces of the postwar world, Brody traces an arc from the directors early critical writing, through his popular success with Breathless, to the grander vision of his later years. Brody vividly depicts Godards wealthy conservative family, his fluid politics, and his tumultuous experiences with women and fellow New Wave filmmakers.

Everything Is Cinema shows decisively the lasting mark that Godard has left on cinema.

"Richard Brodys Everything Is Cinema: The Working Life of Jean-Luc Godard is a story of transformation, a painstaking account of a lifelong artistic journey . . . [A] meticulously detailed book . . . Everything Is Cinema works its way methodically through Godards career, beginning with his days as a young cinephile in the early 1950s, writing for Parisian film journals like La Gazette du Cinéma and, later, the newly founded Cahiers du Cinéma. Brody explains that Godards entree into the French film industry, via writing criticism, was 'revolutionary and didactic': Godard and his contemporariesamong them future filmmakers of the nouvelle vague including François Truffaut, Jacques Rivette and Maurice Schérer (better known to filmgoers as Eric Rohmer)educated themselves by making pilgrimages to screenings at the Cinémathèque and the Cine-Club du Quartier Latin, where they might see three or four films a day."Stephanie Zacharek, The New York Times 
"An honest, intelligent, and often eloquent treatment of a major motion picture artist . . . a roller coaster of exciting ideas. Like a Godard film, the journey [is] worth it."Jeanine Basinger, The New York Times

"Richard Brodys Everything Is Cinema: The Working Life of Jean-Luc Godard is a story of transformation, a painstaking account of a lifelong artistic journey . . . [A] meticulously detailed book . . . Everything Is Cinema works its way methodically through Godards career, beginning with his days as a young cinephile in the early 1950s, writing for Parisian film journals like La Gazette du Cinéma and, later, the newly founded Cahiers du Cinéma. Brody explains that Godards entree into the French film industry, via writing criticism, was 'revolutionary and didactic': Godard and his contemporariesamong them future filmmakers of the nouvelle vague including François Truffaut, Jacques Rivette and Maurice Schérer (better known to filmgoers as Eric Rohmer)educated themselves by making pilgrimages to screenings at the Cinémathèque and the Cine-Club du Quartier Latin, where they might see three or four films a day."Stephanie Zacharek, The New York Times 

"Admirable . . . Exactly the sort of scrupulous and passionate work significant movie figures deserve and almost never receive."Richard Schickel, Los Angeles Times

"The increasing availability of the works of Jean-Luc Godard on DVD makes this the perfect moment for Richard Brody's massive, ambitious new biography of the French Nouvelle Vague pioneer . . . Brody seamlessly integrates the oft-told storythe transformation of Godard and his fellow Cahiers du Cinéma critics into auteurs of the most glorious national cinema of the postwar periodwith reams of new material he has gathered over seven years of research. He seems to have missed no one, interviewing Godard himself, all three of his wives including his frequent star Anna Karina, his Maoist collaborator Jean-Pierre Gorin, and literally dozens of people who were in the room or on the set at important moments in Godard's life. He is attentive to the ideological hair-splitting and political extremism of the Gorin yearsa mad, molten period largely lost to legend until now. To his credit, Brody doesn't glide over Godard's occasional anti-Semitic remarks or his problems with women (Karina maintains that being slapped in public by him simply constituted proof of his love), or the deterioration of his relationship with François Truffaut. However, geniuses all have their flaws, and Brody goes to great length to contextualize these without excusing them, the better to unmask and explain this famously inscrutable artist and his work. All in all, Brody has given us the most satisfyingand epicmovie biography of the year so far."DGA Quarterly

"Perhaps the most impressive thing about Brody's Everything Is Cinema: The Working Life of Jean-Luc Godard is that it's 700 large-format pages long, yet winds up seeming too shorta tribute to both the author and his 77-year-old subject . . . Brody's main strength, apart from the fact that he's never boring, is his ease in clarifying the intricacies of French politics and philosophy as they interact with Godard's evolution. Sometimes these two specialties even come together, bristling with Godardian paradox: 'Breathless was both a work of existential engagement with the worldan engagement that was constant, essential, and involuntary, inasmuch as it was a collage of preexisting materialand therefore also a work of Sartrean bad faith, made by a thinker who did not think but wa

About the Author

Richard Brody is a film critic and editor at The New Yorker. Everything Is Cinema is his first book.

Product Details

ISBN:
9780805080155
Author:
Brody, Richard
Publisher:
Holt McDougal
Subject:
General Biography
Subject:
Entertainment & Performing Arts - Movie Directors
Subject:
Biography-Entertainment and Performing Arts
Subject:
Entertainment & Performing Arts
Subject:
Individual Director (see also BIOGRAPHY & AUTOBIOGRAPHY/Entertainment & Performing Arts)
Edition Description:
Trade Paperback
Publication Date:
20090631
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Illustrations:
approx. 30 bandw illus. throughout
Pages:
720
Dimensions:
9.25 x 6.13 in

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Related Subjects

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Everything Is Cinema: The Working Life of Jean-Luc Godard New Trade Paper
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Product details 720 pages Holt McDougal - English 9780805080155 Reviews:
"Review A Day" by , "It is due to the cinema's past universality and present blockbuster mentality that mass appeal would seem to hold the measure of an artist's achievement. What is truly remarkable is that Godard ever had a public at all. Now, as always, he makes movies to suit himself." (read the entire Harper's review)
"Review" by , "Everything Is Cinema is better than a biography, it is a novel. And a great novel, in which one discovers the story of a man who almost picked the wrong art form, a struggling writer who became an immense filmmaker."Bernard-Henri Lévy, author of
"Review" by , "[S]erious-minded and meticulously detailed . . . account of the lifelong artistic journey...of one of the most influential filmmakers of our age".
"Review" by , "Richard Brody's biography of Godard — arguably the most important, enigmatic, and exciting filmmaker of the second half of the 20th century — effortlessly weaves intellectual history, a personal saga, and an authoritative reading of the films themselves into a seamless web. It virtually crackles with intelligence, and is a must read for anyone interested in cinema."
"Review" by , "Full of lucid analysis and human context, Richard Brody's book performs a heroic act in rescuing Godard and his growing shelf of works from the prison of myth and theory, from the cult of youth and the cult of the '60s, restoring him to his place as an engaged, hard-working artist."
"Review" by , "Godard changed the movies as much as the American masters he grew up on: Welles, Hawks, Hitchcock, and the rest. He is as original as Picasso — but unlike Picasso, he has been denied the biography he has always deserved. This is it. Just at the moment when the New Wave turns fifty, Richard Brody has given us Everything is Cinema, a remarkable book which describes with sharp intelligence a great and elusive artist's times, intellect, passions, and work."
"Synopsis" by , A “serious-minded and meticulously detailed . . . account of the lifelong artistic journey” of one of the most influential filmmakers of our age (The New York Times)

When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godards work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.

In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godards technical inventions as to the political forces of the postwar world, Brody traces an arc from the directors early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godards wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers.

Everything Is Cinema confirms Godards greatness and shows decisively that his films have left their mark on screens everywhere.

"Synopsis" by , A “serious-minded and meticulously detailed . . . account of the lifelong artistic journey” of one of the most influential filmmakers of our age (The New York Times)

When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godards work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting imagescultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as aif not thekey influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.

In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godards technical inventions as to the political forces of the postwar world, Brody traces an arc from the directors early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godards wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers.

Everything Is Cinema confirms Godards greatness and shows decisively that his films have left their mark on screens everywhere.

Richard Brody, a film critic and editor at The New Yorker, is also an independent filmmaker who lives in New York City. Everything Is Cinema is his first book.
When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godards work shifts fluidly from fiction to documentary, from criticism to art. Godard himself also projects shifting imagescultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as aif not thekey influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.

In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godards technical inventions as to the political forces of the postwar world, Brody traces an arc from the directors early critical writing, through his popular success with Breathless, to the grander vision of his later years. Brody vividly depicts Godards wealthy conservative family, his fluid politics, and his tumultuous experiences with women and fellow New Wave filmmakers.

Everything Is Cinema shows decisively the lasting mark that Godard has left on cinema.

"Richard Brodys Everything Is Cinema: The Working Life of Jean-Luc Godard is a story of transformation, a painstaking account of a lifelong artistic journey . . . [A] meticulously detailed book . . . Everything Is Cinema works its way methodically through Godards career, beginning with his days as a young cinephile in the early 1950s, writing for Parisian film journals like La Gazette du Cinéma and, later, the newly founded Cahiers du Cinéma. Brody explains that Godards entree into the French film industry, via writing criticism, was 'revolutionary and didactic': Godard and his contemporariesamong them future filmmakers of the nouvelle vague including François Truffaut, Jacques Rivette and Maurice Schérer (better known to filmgoers as Eric Rohmer)educated themselves by making pilgrimages to screenings at the Cinémathèque and the Cine-Club du Quartier Latin, where they might see three or four films a day."Stephanie Zacharek, The New York Times 
"An honest, intelligent, and often eloquent treatment of a major motion picture artist . . . a roller coaster of exciting ideas. Like a Godard film, the journey [is] worth it."Jeanine Basinger, The New York Times

"Richard Brodys Everything Is Cinema: The Working Life of Jean-Luc Godard is a story of transformation, a painstaking account of a lifelong artistic journey . . . [A] meticulously detailed book . . . Everything Is Cinema works its way methodically through Godards career, beginning with his days as a young cinephile in the early 1950s, writing for Parisian film journals like La Gazette du Cinéma and, later, the newly founded Cahiers du Cinéma. Brody explains that Godards entree into the French film industry, via writing criticism, was 'revolutionary and didactic': Godard and his contemporariesamong them future filmmakers of the nouvelle vague including François Truffaut, Jacques Rivette and Maurice Schérer (better known to filmgoers as Eric Rohmer)educated themselves by making pilgrimages to screenings at the Cinémathèque and the Cine-Club du Quartier Latin, where they might see three or four films a day."Stephanie Zacharek, The New York Times 

"Admirable . . . Exactly the sort of scrupulous and passionate work significant movie figures deserve and almost never receive."Richard Schickel, Los Angeles Times

"The increasing availability of the works of Jean-Luc Godard on DVD makes this the perfect moment for Richard Brody's massive, ambitious new biography of the French Nouvelle Vague pioneer . . . Brody seamlessly integrates the oft-told storythe transformation of Godard and his fellow Cahiers du Cinéma critics into auteurs of the most glorious national cinema of the postwar periodwith reams of new material he has gathered over seven years of research. He seems to have missed no one, interviewing Godard himself, all three of his wives including his frequent star Anna Karina, his Maoist collaborator Jean-Pierre Gorin, and literally dozens of people who were in the room or on the set at important moments in Godard's life. He is attentive to the ideological hair-splitting and political extremism of the Gorin yearsa mad, molten period largely lost to legend until now. To his credit, Brody doesn't glide over Godard's occasional anti-Semitic remarks or his problems with women (Karina maintains that being slapped in public by him simply constituted proof of his love), or the deterioration of his relationship with François Truffaut. However, geniuses all have their flaws, and Brody goes to great length to contextualize these without excusing them, the better to unmask and explain this famously inscrutable artist and his work. All in all, Brody has given us the most satisfyingand epicmovie biography of the year so far."DGA Quarterly

"Perhaps the most impressive thing about Brody's Everything Is Cinema: The Working Life of Jean-Luc Godard is that it's 700 large-format pages long, yet winds up seeming too shorta tribute to both the author and his 77-year-old subject . . . Brody's main strength, apart from the fact that he's never boring, is his ease in clarifying the intricacies of French politics and philosophy as they interact with Godard's evolution. Sometimes these two specialties even come together, bristling with Godardian paradox: 'Breathless was both a work of existential engagement with the worldan engagement that was constant, essential, and involuntary, inasmuch as it was a collage of preexisting materialand therefore also a work of Sartrean bad faith, made by a thinker who did not think but wa

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