A Companion to Jean-Luc Godard (Wiley-Blackwell Companions by Tom Conley, T. Jefferson Kline

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By Tom Conley, T. Jefferson Kline

This compendium of unique essays deals priceless insights into the lifestyles and works of 1 of an important and influential administrators within the historical past of cinema, exploring his significant movies, philosophy, politics, and connections to different critics and administrators. provides a compendium of unique essays supplying necessary insights into the existence and works of 1 of crucial and influential filmmakers within the background of cinema positive factors contributions from a global forged of significant movie theorists and critics offers readers with either an in–depth studying of Godard’s significant motion pictures and a feeling of his evolution from the recent Wave to his later political sessions Brings clean insights into the nice director’s biography, together with reflections on his own philosophy, politics, and connections to different critics and filmmakers Explores a number of the eighty good points Godard made in approximately 60 years, and contains assurance of his fresh paintings in video

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Picked up, hiring Burnett on contract and putting him in regular contact with John Huston. High Sierra was produced for Warner Bros. by Mark Hellinger, who would later yield influence over noir productions for Universal Pictures, including Robert Siodmak’s The Killers, and Jules Dassin’s Brute Force and The Naked City (1948). indb 21 17/2/14 15:45:44 SHORT CUTS good-hearted country boy from the Midwest gone rogue with the Dillinger gang. After being released from prison, Roy organises a hotel robbery from atop a mountain.

Narrow though its formula may be, the noir heist shares philosophical underpinnings with high and low modernism and thus participates in the vernacular critique of post-war modernity. Moving beyond the accomplishments of Siodmak and Huston, the noir heist would embark on a path to reflect more self-consciously on the role of art and artistic autonomy in commodity culture, but would also find itself subject to the conventionalism of all successful genres. indb 37 17/2/14 15:45:46 2 FOUNDATIONS : THE NOIR HEIST AND ITS SATIRE AS AESTHETIC PAR ABLES In the 1950s the heist film came into its own.

In a different context and with reference to the ‘bravado’ of the opening to Criss Cross, Dimendberg warns us to be suspicious that the film ‘display[s] far more of the city than is necessary to commence [its] narrative and do[es] so through complications and expense of aerial cinematography’ (2004: 89). There is another way to interpret the extended aerial shot. When Steve gets hired at Horten’s Armored Car service, he wonders aloud whether there is a ‘defense against an aerial holdup? ’ His coworker replies that there has been no holdup in twenty-eight years.

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