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foreword by Annette Michelson  \nA DA CAPO PAPERBACK  \nLibrary of Congress Cataloging in Publication Data Godard, Jean Luc, 1930-  \nGodard on Godard.  \n(A Da Capo paperback)  \nTranslation of Jean-Luc Godard.  \nI. Moving-pictures-Addresses, essays, lectures. I. Title.  \n[PNI994.G57513 1986) 791.43'0233'0924 86-1993 ISBN 0-306-80259-7 (pbk.)  \nThis Da Capo Press paperback edition of Godard on Godard is an unabridged republication of the edition published in New York and London in 1972, here supplemented with a new foreword by Annette Michelson  \nCopyright © Editions Belfond, 1968  \nEnglish language translation Copyright © 1972  \nby Martin Secker & Warburg Limited  \nNew foreword copyright © 1986 by Annette Michelson  \nPublished by Da Capo Press, Inc.  \nA Subsidiary of Plenum Publishing Corporation  \n233 Spring Street, New York, N.Y. 10013  \nAll Rights Reserved  \nManufactured in the United States of America  \nForeword  \nIn the fields with which we are concerned , knowledge comes only in flashes. The text is the thunder rolling long afterward.  \n-WALTER BENJAMIN  \nTwenty years have passed since the completion of the last text in this volume, and we may well wish to examine their interest for us now, to ask why Godard's writings, almost alone among those of his contemporaries (those critics and film-makers of Les Cahiers du Cinema who were his first colleagues) retain their urgency for us. The answer is not far to seek.  \nThese essays, reviews, and manifestoes are marked, like others of their period,  hlstoncal conditions of 'iheir elaboration: the retarded industrialization of post-war France; the radical crisis generated by the last of France's colonial wars in both Indo-China and Algeria; the pervasive malaise following upon that Caesarean operation which delivered the Fifth Republic and its Gaullist regime. They are, however, clearly singular in their deep sense of implication in those events, in their initiation of an intensive reflection upon the nature anc,i the problematic conditions of cinematic practice. This reflection, assumed and sustained over three decades by GOdard, as by no other European film-maker of his we may now read as central within a larger text: the theorization of the nature of representati on in the era of late capitalism which animates the full range of discursive and artistic practice in our day.  \nThe field of this debate has been mapped, its strategies epitomized, in the work of Michel Foucault, who offered in The Order of Things his uniquely seminal reading of Velasquez' Las Meninas. This painting, long since consecrated by historical tradition, is now understood to articulate a relation of  \nForeword  \npainter to model to spectator, opening for us a discursive space that has not yet been exhausted. Within the space of artistic practice and court life, of  \ndepiction and reflection, within the light that irradiates the room through the depicted aperture, Velasquez had constructed what Foucault has called\"the conjunction of two invisibilities. \" It is that limit of representation which forms the ground and horizon of Velasquez' project. And Foucault has furthermore called this problem of representation the subject and emblem of discourse in modernity. That modernity produces, in turn, a writing understood as interplay of signs \"regulated less by the content it signifies than by the very nature of the signifier. \" Such writing implies a constant \"testing of the limits of its regularity, transgressing and reversing an order that it accepts and anticipates. A writing that unfolds like a game that inevitably moves beyond its own rules and finally leaves them behind.\"Such will be Godard's trajectory.  \nHe begins, however, as a defe\"n􀆔er des which is  \nto say, a champion of the fihi\"director's autonomy and of the integrity of his labor. In this early period, 􀆗'freedom,\" for Godard, \"means do","cbCainrkQF2uXQ43","https://ap.wps.com/l/cbCainrkQF2uXQ43","pdf",28788585,302,"English","# Foreword\n## Historical context for Godard’s urgency\n## Representation, discourse, and modernity","[{\"question\":\"What is the purpose of the foreword in this volume?\",\"answer\":\"It explains why Godard’s writings remain urgent by linking them to the historical and political conditions shaping their elaboration, and by framing Godard’s trajectory through debates about representation and discourse.\"},{\"question\":\"Which historical events are highlighted as shaping Godard’s essays and manifestoes?\",\"answer\":\"The foreword points to postwar France’s retarded industrialization, the crisis generated by France’s colonial wars in Indochina and Algeria, and the broader malaise following the founding of the Fifth Republic and its Gaullist regime.\"},{\"question\":\"How does the foreword connect Godard’s work to broader theory of representation?\",\"answer\":\"It maps the debate through Michel Foucault’s readings of representation, focusing on how relations among painter, model, and spectator open a discursive space that has not been exhausted, and how writing tests the limits of regularity.\"}]","Godard on Godard - Introduction and Foreword | PDF",1791162981,465]