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Godard’s films godard2(1)is composed almost entirely of visual and auditory quotations from films На последнем дыхании / À bout de souffle http://www.dailymotion.com/video/x383mqh
My Histoire(s) du Cinema starts with a chapter called ‘Toutes les Histoires‘, a lot of small stories in which signs can be seen. It then goes on to say that this story is alone – the only story that has ever been. Then – you know my immoderate ambition – I say: not only is it alone, but it is the only one that will ever be and that has ever been (after, it will not be a story but something else). It is my mission to tell it.”
Jean-Luc Godard

Histoire(s) du Cinéma 1988–98 is a powerful and visually stunning critique of cinema and its relationship to the other arts, as well as a reflexive analysis of the director’s life and work. Originally commissioned for European television, the production spans ten years and includes eight episodes (of a proposed ten) in four chapters. История кино http://klub-nostalgia.ucoz.com/forum/65-451-1 .План создания «Истории кино» Годар вынашивал с первых дней своих занятий критикой; «духовным отцом» этого проекта можно считать Анри Ланглуа, который и должен был прочесть осенью 1978 года в монреальской Высшей школе кинематографического искусства цикл лекций по истории кино. Скончавшегося мэтра заменить пришлось Годару, и он предложил директору школы Сержу Лозику вместо лекций поработать вместе со студентами над сценарием предполагаемого цикла фильмов под названием «Введение в истинную историю кино и телевидения» — истинную в том смысле, что ее составят изображения и звуки, а не тексты, пусть и с иллюстрациями. Histoire(s)DuCinema01histoire000031

The project began in 1988 and emerged from a series of lectures Godard delivered at the University of Montreal in 1978. In these lectures, Godard presented an analysis of his own films alongside others, juxtaposing imagery with additional references to painting, newsreels and television. The project also bears the marks of Godard’s early film criticism published in Cahiers du Cinéma. Central to the project is Godard’s ongoing concern with the politics and materiality of filmmaking — for example, the process of editing, which Godard conceives as analogous to the act of lying. Godard reacts against the simple conventions of editing, continually juxtaposing and superimposing images in montages that search for truth and meaning in cinematic imagery. Godard famously asserted, ‘If directing is a gaze, editing is a heartbeat’[ dailymotion id=x20dw4x]

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