Cover -- Title page -- Copyright page -- Contents -- Notes on Contributors -- Introduction -- 1: From Pen to Camera: Another Critic -- 2: À bout de souffle: Trials in New Coherences -- An Inaugural Moment -- Characters in Search of a Film -- Trials -- Spaces and Places -- The Soundtrack -- Conclusions -- Acknowledgments -- 3: "Médicis 15-37": Bernardo Bertolucci vs. Jean-Luc Godard -- 4: Un Femme est infâme: Godard's Writing Lesson -- 5: Michel Legrand Scores Une femme est une femme -- Legrand - Godard's Longest Musical Collaboration -- The Musical Language of Legrand's Score to Une femme est une femme -- Legrand's Score in Context of the Classical Hollywood Film Score -- Time and Place -- Underlining Psychological Refinements -- Music as Neutral Background Filler -- Building a Sense of Continuity -- Underpinning the Theatrical Build-Up of a Scene, and Rounding It Off with a Sense of Finality -- Conclusion -- 6: Three-Way Mirroring in Vivre sa vie -- The Face - Sadness - Identification -- Interiors and Exteriors - Structural Film -- Brechtian Verfremdungseffekt - Story-telling - Theatre Vérité - Performance -- Female Shop Clerks - Exchanges - Prostitution - Feminism -- Biography - the Self and the World -- 7: Commerce and the War of the Sexes: Laetitia Masson and Jean-Luc Godard -- Commerce -- The Gaze and Reification -- Essence and Difference -- Normative Fantasies -- 8: Les Carabiniers: BB Guns at War and at the Movies -- 1 -- 2 -- 3 -- 4 -- 5 -- 9: A Postmodern Consideration of Jean-Luc Godard's Le Mépris -- 10: Totally, Tenderly, Tragically . . . and in Color: Another Look at Godard's Le Mépris -- 11: Le Mépris: Landscapes as Tragedy -- Godard Beyond National Identity: Malraux, Renoir, Bazin -- Modernity of the Landscape -- 12: Bande(s) à part: Godard's Contraband Poetry -- 13: Pierrot le fou and a Legacy of Forme -- 14: Godard's Wars.

15: (Dé)collage: Bazin, Godard, Aragon -- Bazin and Godard: For and Against Realism -- Godard and Aragon: Collage -- Godard and Décollage -- Bazin, Godard, and the Index -- Conclusion -- 16: The Children of Marx and Esso: Oil Companies and Cinematic Writing in 1960s Godard -- Deux ou trois choses que je sais de Shell -- Le BP Soldat -- Total Cinema -- 17: One or Two Points About Two or Three Things I Know About Her -- Realism: Challenging the Codes of Documentary and Fiction -- De Gaulle=USA -- The Method -- Alienation: The Emotional Portrait of a Society Under Capitalism -- Film Time vs. Real Time -- Sound -- People vs. Objects -- The Philosophical Position -- Freedom -- The Emotive Power of the Image in the Association of Ideas -- Acknowledgment -- 18: Godard's Remote Control -- Acknowledgment -- 19: La Chinoise . . . et après?: Aging Against Tradition -- Out of the Time Capsule, A Long Unfinished Film -- Et après? A Time Machine Against Tradition -- Acknowledgements -- 20: Jean-Luc, Community, and Communication -- 21: On and Under Communication -- Sonimage -- From the Dziga Vertov Group to Sonimage -- Information Theory -- Video -- Under Television -- On Television 1: Six fois deux (Sur et sous la communication) -- On Television 2: France tour détour deux enfants -- On Journalism -- Other Communication Processes -- 22: Factories and the Factory -- 23: Passion's Ghost -- Histoire -- Interiors -- Painter's prison -- The torturer's politique -- Godard-Truffaut -- Acknlowledgments -- 24: Schizoanalyzing Souls: Godard, Deleuze, and the Mystical Line of Flight -- God/ard -- . . . and . . . and . . . and . . . -- A Euclidean Postulate -- Sensation -- Enter the Body Without Organs -- Conceptual Personae -- Sublimity -- Into the Chaosmos -- 25: Godard the Hegelian -- 26: Godard's Ecotechnics -- 27: Retrospective Godard -- Divided Portraits.

Framing Solitude -- 28: "An Accurate Description of What Has Never Occurred": History, Virtuality, and Fiction in Godard -- Stories of Cinema: Parodic Figures of the Dialectic -- Post-Cinematic Fictions: The Archive and the Monad -- 29: Noli me tangere: Jean-Luc Godard's Histoire(e)s du cinéma -- Toutes les histoires or Une histoire seule -- Does Reanimation Amount to Resurrection? -- Acknowledgments -- 30: Godard the Historiographer: From Histoires du cinéma to the Beaubourg Exhibition -- History and Archaeology -- Periods -- Superimpositions -- The Unattainable Past -- 31: The Old Place, Space of Legends -- Intertitles: Légendes at Play -- A Resistant Text -- Commercialism meets Semiotics -- The Signature of Légendes -- The Légende Comes Full Circle -- 32: Notre musique: Juste une conversation -- Hell and Other People -- Purgatory: One Must Imagine Godard Guilty -- Paradise -- 33: Jean-Luc Godard: To Liberate Things from the Name that We Have Imposed on Them (Film . . .) to Announce Dissonances Parting from a Note in Common (Socialisme) -- 1 Socialism -- 2 Gold -- 3 Sensible Memory -- 4 Poetic Imaginary and Montage -- 5 Nos Humanités: Palestine -- Index.