text: French New Wave

text: Hollywood

text: Versailles

text: Louis XV

text: radical

text: film history

text: existential

text: Marxist philosophy

text: representation

text: humanist

text: Sight & Sound

text: narrative theory

text: Academy Honorary Award

text: Martin Scorsese

text: Quentin Tarantino

text: Brian De Palma

text: Steven Soderbergh

text: D. A. Pennebaker

text: Robert Altman

text: Jim Jarmusch

text: Wong Kar-wai

text: Wim Wenders

text: Bernardo Bertolucci

text: Pier Paolo Pasolini

text: Pedro Pablo Kuczynski

text: President of Peru

text: Anna Karina

text: Anne Wiazemsky

text: Bande à part

text: Pierrot le Fou

text: Filmmaker

text: 7th arrondissement of Paris

text: Banque Paribas

text: Adolphe Monod

text: Jacques-Louis Monod

text: Théodore Monod

text: Frédéric Monod

text: Second World War

text: Lake Geneva

text: Nyon

text: Lycée Buffon

text: Jean Schlumberger

text: Lausanne

text: Thonon

text: anthropology

text: University of Paris

text: ciné-club

text: Gland

text: canton

text: Vaud

text: Latin Quarter

text: Henri Langlois

text: Georges Franju

text: André Bazin

text: Maurice Schérer

text: Jacques Rivette

text: Claude Chabrol

text: François Truffaut

text: Cinémathèque

text: Goethe

text: Dreyer

text: criticism

text: Cahiers du cinéma

text: Rudolph Maté

text: No Sad Songs for Me

text: Otto Preminger

text: Howard Hawks

text: Welles

text: De Sica

text: Wyler

text: Grande Dixence Dam

text: Opération béton

text: Une femme coquette

text: Geneva

text: Goethe

text: Elective Affinities

text: Pierre Braunberger

text: All the Boys Are Named Patrick

text: Une histoire d'eau

text: Jean-Paul Belmondo

text: Charlotte et son Jules

text: Jean Cocteau

text: Bogart

text: Tours

text: Jacques Demy

text: Jacques Rozier

text: Agnès Varda

text: Alain Resnais

text: 1959 Cannes Film Festival

text: Georges de Beauregard

text: Pierre Loti

text: Breathless

text: Week End

text: Breathless

text: Jean-Paul Belmondo

text: Jean Seberg

text: French New Wave

text: American

text: film noir

text: jump cuts

text: character asides

text: eyeline match

text: continuity editing

text: Humphrey Bogart

text: The Harder They Fall

text: Ingmar Bergman

text: Samuel Fuller

text: Fritz Lang

text: Monogram Pictures

text: B-movie

text: William Faulkner

text: Dylan Thomas

text: Louis Aragon

text: Rilke

text: Françoise Sagan

text: Maurice Sachs

text: Mozart

text: Picasso

text: J. S. Bach

text: Paul Klee

text: Auguste Renoir

text: Otto Preminger

text: Joan of Arc

text: Saint Joan

text: Bonjour Tristesse

text: Michel Simon

text: Jules Berry

text: Raoul Coutard

text: French-Indochina War

text: Jean Vigo Prize

text: auteur

text: Alexandre Astruc

text: Le Petit Soldat

text: Geneva

text: Algerian War of Independence

text: attempted putsch in Algeria

text: Michel Subor

text: Anna Karina

text: A Woman Is a Woman

text: American musical

text: Vivre sa vie

text: Les Carabiniers

text: Roberto Rossellini

text: Le Mépris

text: Michel Piccoli

text: Brigitte Bardot

text: Italy

text: modernism

text: Jack Palance

text: Homer

text: Odyssey

text: Fritz Lang

text: high culture

text: Bande à part

text: Alice in Wonderland

text: Franz Kafka

text: gangster film

text: Une femme mariée

text: Claude Lévi-Strauss

text: Roland Barthes

text: Hollywood

text: Pierrot le Fou

text: Alphaville

text: film noir

text: Eddie Constantine

text: Lemmy Caution

text: Howard Vernon

text: Pierrot le Fou

text: Gilles Jacob

text: Cannes Film Festival

text: Masculin Féminin

text: Guy de Maupassant

text: Marx

text: Coca-Cola

text: Made in U.S.A

text: Richard Stark

text: Two or Three Things I Know About Her

text: Marina Vlady

text: Anna Karina

text: Marianne Faithfull

text: La Chinoise

text: Week-end

text: tracking shot

text: Algerian War of Independence

text: metonym

text: Godard's Marxist disposition

text: anti-Semitic

text: Richard Brody

text: Ici et ailleurs

text: Vietnam War

text: Pierrot le fou

text: Viet Cong

text: French communists

text: American hegemony

text: American sailor

text: Mao

text: Loin du Vietnam

text: stock footage

text: Claude Lelouch

text: Joris Ivens

text: William Klein

text: Chris Marker

text: Alain Resnais

text: Agnès Varda

text: Bertolt Brecht

text: epic theatre

text: Verfremdungseffekt

text: Breathless

text: Week-end

text: Pierrot le Fou

text: La Chinoise

text: Marxist

text: Marxism

text: Karl Marx

text: Jesus Christ

text: consumerism

text: alienation

text: Jacques Rancière

text: commodification

text: pop art

text: dialectical

text: Une femme mariée

text: commodity fetishism

text: Economic and Philosophical Manuscripts of 1844

text: Georges Sadoul

text: Maoist

text: Jean-Pierre Gorin

text: Dziga-Vertov

text: Tout Va Bien

text: Yves Montand

text: Jane Fonda

text: Letter to Jane

text: Viet Cong

text: Vietnam War

text: Mozambican

text: Kodak

text: skin

text: Shirley cards

text: Anne-Marie Miéville

text: Number Two

text: May 1968

text: de Gaulle

text: Jean-Pierre Gorin

text: Tout Va Bien

text: Jane Fonda

text: Yves Montand

text: Dziga Vertov Group

text: Vertov

text: Man with the Movie Camera

text: montage

text: Sergei Eisenstein

text: constructivist

text: avant-garde

text: Alexander Rodchenko

text: Vladimir Tatlin

text: class struggle

text: Anne-Marie Miéville

text: Sauve qui peut (la vie)

text: Passion

text: Lettre à Freddy Buache

text: Prénom Carmen

text: Je vous salue, Marie

text: heresy

text: King Lear

text: William Shakespeare

text: ARIA

text: Armide

text: aria

text: Jean-Baptiste Lully

text: Armide

text: Nouvelle Vague

text: JLG/JLG, autoportrait de décembre

text: For Ever Mozart

text: Allemagne année 90 neuf zéro

text: Histoire(s) du cinéma

text: "In Praise of Love" ("Éloge de l'amour")

text: Notre musique

text: war in Sarajevo

text: American Civil War

text: US and Native Americans

text: Israeli–Palestinian conflict

text: Dantean

text: Hell, Purgatory and Paradise

text: US Marines

text: Film Socialisme

text: Un Certain Regard

text: 2010 Cannes Film Festival

text: Daniel Mendelsohn

text: Peter Greenaway

text: Edgar Pera

text: 2013 Cannes Film Festival

text: Goodbye to Language

text: Palme d'Or

text: 2014 Cannes Film Festival

text: Jury Prize

text: J. Hoberman

text: The Image Book

text: Anna Karina

text: Anne Wiazemsky

text: Anne-Marie Miéville

text: The Independent

text: Filmmaker

text: Michel Hazanavicius

text: Redoubtable

text: Cannes Film Festival

text: Breathless

text: Le Petit soldat

text: A Woman Is a Woman

text: My Life to Live

text: Les Carabiniers

text: Contempt

text: Band of Outsiders

text: A Married Woman

text: Alphaville

text: Pierrot le Fou

text: Masculin Féminin

text: Made in U.S.A

text: Two or Three Things I Know About Her

text: La Chinoise

text: Week-end

text: One Plus One

text: Le Gai savoir

text: British Sounds

text: Wind from the East

text: Tout Va Bien

text: Here and Elsewhere

text: Number Two

text: Every Man for Himself

text: Passion

text: First Name: Carmen

text: Hail Mary

text: Détective

text: King Lear

text: Keep Your Right Up

text: New Wave

text: Germany Year 90 Nine Zero

text: The Kids Play Russian

text: Oh Woe Is Me

text: JLG/JLG – Self-Portrait in December

text: For Ever Mozart

text: In Praise of Love

text: Notre musique

text: Film Socialisme

text: Goodbye to Language

text: The Image Book

text: Manfred Eicher

text: ECM Records

text: Nouvelle Vague

text: Histoire(s) du cinéma

text: Allemagne 90 neuf zéro

text: JLG

text: For Ever Mozart

text: Ketil Bjørnstad

text: David Darling

text: Epigraphs

text: In Praise of Love

text: Anne-Marie Miéville

text: Luciano Berio

text: Kim Kashkashian

text: Trio Mediaeval

text: Christoph Poppen

text: Hilliard Ensemble

text: Juliane Banse

text: András Schiff

text: Valentin Silvestrov

text: Soul of Things

text: Tomasz Stanko

text: Suspended Night

text: Tomasz Stanko

text: Robert Levin

text: Norma Winstone

text: Glauco Venier

text: Lee Konitz

text: Brad Mehldau

text: Charlie Haden

text: Paul Motian

text: Jean-Luc Godard bibliography

text: Dziga Vertov Group

text: Godard Bibliography (via UC Berkeley)

text: Griffiths, Paul

text: Cinema=Godard=Cinema

text: Jean-Luc Godard

text: Criterion Collection

text: Jean Luc Godard Biography

text: Jean-luc Godard Timeline

text: Detailed filmography of Jean-Luc Godard

text: Jean-Luc Godard

text: The Guardian

text: Jean-Luc Godard

text: The New York Times

text: "Guardian" interview (29 April 2005)

text: Video dialog—in French—between Godard and the French writer Stéphane Zagdanski about Literature and Cinema, November 2004

text: Interview with Jean-Luc Godard, 1972

categories: University of Paris alumni,French male screenwriters,Academy Honorary Award recipients,French-language film directors,1930 births,Writers from Paris,French male writers,European Film Awards winners (people),Georges Delerue Award winners,French cinematographers,French film editors,French people of Swiss descent,French film directors,Silver Bear for Best Director recipients,French film producers,French experimental filmmakers,French film critics,French Marxists,French screenwriters

paragraph: Jean-Luc Godard

paragraph: Jean-Luc Godard (; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He rose to prominence as a pioneer of the 1960s French New Wave film movement.

paragraph: Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality", which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation." As a result of such argument, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema. In 1964, Godard described his and his colleagues' impact: "We barged into the cinema like cavemen into the Versailles of Louis XV." He is often considered the most radical French filmmaker of the 1960s and 1970s; his approach in film conventions, politics and philosophies made him arguably the most influential director of the French New Wave. Along with showing knowledge of film history through homages and references, several of his films expressed his political views; he was an avid reader of existential and Marxist philosophy. Since the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, and a Marxist perspective.

paragraph: In a 2002 "Sight & Sound" poll, Godard ranked third in the critics' top-ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He is said to have "created one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century." He and his work have been central to narrative theory and have "challenged both commercial narrative cinema norms and film criticism's vocabulary." In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired many directors including Martin Scorsese, Quentin Tarantino, Brian De Palma, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, and Pier Paolo Pasolini.

paragraph: From his father, he is the cousin of Pedro Pablo Kuczynski, former President of Peru. He has been married twice, to actresses Anna Karina and Anne Wiazemsky, both of whom starred in several of his films. His collaborations with Karina—which included such critically acclaimed films as "Bande à part" (1964) and "Pierrot le Fou" (1965)—was called "arguably the most influential body of work in the history of cinema" by "Filmmaker" magazine.

paragraph: Section::::Early life.

paragraph: Jean-Luc Godard was born on 3 December 1930 in the 7th arrondissement of Paris, the son of Odile (née Monod) and Paul Godard, a Swiss physician. His wealthy parents came from Protestant families of Franco–Swiss descent, and his mother was the daughter of Julien Monod, a founder of the Banque Paribas. She was the great-granddaughter of theologian Adolphe Monod. Relatives on his mother's side include also composer Jacques-Louis Monod, naturalist Théodore Monod and pastor Frédéric Monod. Four years after Jean-Luc's birth, his father moved the family to Switzerland. At the outbreak of the Second World War, Godard was in France and returned to Switzerland with difficulty. He spent most of the war in Switzerland, although his family made clandestine trips to his grandfather's estate on the French side of Lake Geneva. Godard attended school in Nyon, Switzerland.

paragraph: Not a frequent cinema-goer, he attributed his introduction to cinema to a reading of Malraux's essay "Outline of a Psychology of Cinema", and his reading of "La Revue du cinéma", which was relaunched in 1946. In 1946, he went to study at the Lycée Buffon in Paris and, through family connections, mixed with members of its cultural elite. He lodged with the writer Jean Schlumberger. Having failed his baccalaureate exam in 1948 he returned to Switzerland. He studied in Lausanne and lived with his parents, whose marriage was breaking up. He spent time in Geneva also with a group that included another film fanatic, Roland Tolmatchoff, and the extreme rightist philosopher Jean Parvulesco. His older sister Rachel encouraged him to paint, which he did, in an abstract style. After time spent at a boarding school in Thonon to prepare for the retest, which he passed, he returned to Paris in 1949. He registered for a certificate in anthropology at the University of Paris (Sorbonne), but did not attend class. He got involved with the young group of film critics at the ciné-clubs that started the New Wave. Godard originally held only French citizenship, then in 1953, he became a citizen of Gland, canton of Vaud, Switzerland, possibly through simplified naturalisation through his Swiss father.

paragraph: Section::::Early career (1950–59).

paragraph: Section::::Early career (1950–59).:Film criticism.

paragraph: In Paris, in the Latin Quarter just prior to 1950, "ciné-clubs" (film societies) were gaining prominence. Godard began attending these clubs – the Cinémathèque, the CCQL, Work and Culture ciné Club, and others – which became his regular haunts. The Cinémathèque had been founded by Henri Langlois and Georges Franju in 1936; Work and Culture was a workers' education group for which André Bazin had organized wartime film screenings and discussions and which had become a model for the film clubs that had risen throughout France after the Liberation; Ciné-Club du Quartier Latin (CCQL), founded 1947-48, was animated and intellectually led by Maurice Schérer. At these clubs he met fellow film enthusiasts including Jacques Rivette, Claude Chabrol, and François Truffaut. Godard was part of a generation for whom cinema took on a special importance. He has said: "In the 1950s cinema was as important as bread—but it isn't the case any more. We thought cinema would assert itself as an instrument of knowledge, a microscope... a telescope... At the Cinémathèque I discovered a world which nobody had spoken to me about. They'd told us about Goethe, but not Dreyer. ... We watched silent films in the era of talkies. We dreamed about film. We were like Christians in the catacombs."

paragraph: His foray into films began in the field of criticism. Along with Maurice Schérer (writing under the to-be-famous pseudonym Éric Rohmer) and Rivette, he founded the short-lived film journal "Gazette du cinéma", which saw publication of five issues in 1950. When Bazin co-founded the influential critical magazine "Cahiers du cinéma" in 1951, Godard was the first of the younger critics from the CCQL/Cinémathèque group to be published—the January 1952 issue featured his review of an American melodrama directed by Rudolph Maté, "No Sad Songs for Me". His "Defence and Illustration of Classical Découpage" published in September 1952, in which he attacks an earlier article by Bazin and defends the use of the shot-reverse shot technique, is one of his earliest important contributions to cinema. Praising Otto Preminger and "the greatest American artist—Howard Hawks", Godard raises their harsh melodramas above the more "formalistic and overtly artful films of Welles, De Sica and Wyler which Bazin endorsed". At this point Godard's activities did not include making films—rather he watched films, and wrote about them, and helped others make films, notably Rohmer, with whom he worked on "".

paragraph: Section::::Early career (1950–59).:Filmmaking.

paragraph: Having left Paris in the autumn of 1952, Godard returned to Switzerland and went to live with his mother in Lausanne. He became friendly with his mother's lover, Jean-Pierre Laubscher, who was a labourer on the Grande Dixence Dam. Through Laubscher he secured work himself as a construction worker at the Plaz Fleuri work site at the dam. He saw the possibility of making a documentary film about the dam and when his initial contract ended, in order to prolong his time at the dam, moved to the post of telephone switchboard operator. It was whilst on duty, in April 1954, that he put through a call to Laubscher that relayed the fact that Odile Monod, his mother, had died in a scooter accident. Thanks to Swiss friends who lent him a 35mm movie camera, he was able to shoot on 35mm film. He rewrote the commentary that Laubscher had written, and gave his film a rhyming title "Opération béton" (Operation concrete). The company that administered the dam bought the film and used it for publicity purposes.

paragraph: As he continued to work for "Cahiers", he made "Une femme coquette" (1955), a 10-minute short, in Geneva; and in January 1956 he returned to Paris. A plan for a feature film of Goethe's "Elective Affinities" proved too ambitious and came to nothing. Truffaut enlisted his help to work on an idea he had for a film based on the true-crime story of a petty criminal, Michel Portail, who had shot a motorcycle policeman and whose girlfriend had turned him in to the police, but Truffaut failed to interest any producers. Another project with Truffaut, a comedy about a country girl arriving in Paris, was also abandoned. He worked with Rohmer on a planned series of short films centering on the lives of two young women, Charlotte and Véronique; and in the autumn of 1957, Pierre Braunberger produced the first film in the series, "All the Boys Are Named Patrick", directed by Godard from Rohmer's script. "Une histoire d'eau" (1958) was created largely out of unused footage shot by Truffaut. In 1958, Godard, with a cast that included Jean-Paul Belmondo and Anne Colette, made his last short before gaining international prominence as a filmmaker, "Charlotte et son Jules", an homage to Jean Cocteau. The film was shot in Godard's hotel room on the rue de Rennes and apparently reflected something of the 'romantic austerity' of Godard's own life at this time. His Swiss friend Roland Tolmatchoff noted; "In Paris he had a big Bogart poster on the wall and nothing else." In December 1958, Godard reported from the Festival of Short Films in Tours and praised the work of, and became friends with, Jacques Demy, Jacques Rozier, and Agnès Varda—he already knew Alain Resnais whose entry he also praised—but Godard now wanted to make a feature film. He travelled to the 1959 Cannes Film Festival and asked Truffaut to let him use the story on which they had collaborated in 1956, about the car thief Michel Portail. He sought money from the producer Georges de Beauregard whom he had met previously whilst working briefly in the publicity department of Twentieth Century Fox's Paris office, and who was also at the Festival. Beauregard could offer his expertise, but was in debt from two productions based on Pierre Loti stories and so financing came instead from a film distributor, René Pignières.

paragraph: Section::::New Wave period (1960–68).

paragraph: Godard's most celebrated period as a director spans roughly from his first feature, "Breathless" (1960), through to "Week End" (1967). His work during this period focused on relatively conventional films that often refer to different aspects of film history. Although Godard's work during this time is considered groundbreaking in its own right, the period stands in contrast to that which immediately followed it, during which Godard ideologically denounced much of cinema's history as "bourgeois" and therefore without merit.

paragraph: Section::::New Wave period (1960–68).:Films.

paragraph: Section::::New Wave period (1960–68).:Films.:"Breathless".

paragraph: Godard's "Breathless" ("À bout de souffle", 1960), starring Jean-Paul Belmondo and Jean Seberg distinctly expressed the French New Wave's style, and incorporated quotations from several elements of popular culture—specifically American film noir. The film employed various techniques such as the innovative use of jump cuts (which were traditionally considered amateurish), character asides, and breaking the eyeline match in continuity editing.

paragraph: From the beginning of his career, Godard included more film references into his movies than did any of his New Wave colleagues. In "Breathless", his citations include a movie poster showing Humphrey Bogart—from "The Harder They Fall", his last film (whose expression the lead actor Jean-Paul Belmondo tries reverently to imitate)—visual quotations from films of Ingmar Bergman, Samuel Fuller, Fritz Lang, and others; and an onscreen dedication to Monogram Pictures, an American B-movie studio. Quotations from, and references to literature include William Faulkner, Dylan Thomas, Louis Aragon, Rilke, Françoise Sagan, Maurice Sachs. The film also contains citations in images or on the soundtrack—Mozart, Picasso, J. S. Bach, Paul Klee, and Auguste Renoir. "This first-person cinema invoked not the director's experience but his presence".

paragraph: Godard wanted to hire the American actress Jean Seberg, who was living in Paris with her husband François Moreuil, an attorney, to play the American woman. Seberg had become famous in 1956 when Otto Preminger had chosen her to play Joan of Arc in his "Saint Joan", and had then cast her in his acidulous 1958 adaptation of "Bonjour Tristesse". Her performance in this film had not been generally regarded as a success—the "New York Times" critic called her a "misplaced amateur"—but Truffaut and Godard disagreed. In the role of Michel Poiccard, Godard cast Belmondo, an actor he had already called, writing in "Arts" in 1958, "the Michel Simon and the Jules Berry of tomorrow." The cameraman was Raoul Coutard, the producer Beauregard's choice. Godard wanted "Breathless" to be shot like a documentary, with a lightweight handheld camera and a minimum of added lighting and Coutard had had experience as a documentary cameraman while working for the French army's information service in Indochina during the French-Indochina War. Tracking shots were filmed by Coutard from a wheelchair pushed by Godard. Though he had prepared a traditional screenplay, he dispensed with it and Godard wrote the dialogue day by day as the production went ahead. The film's importance was recognized immediately and in January 1960, Godard won the Jean Vigo Prize, awarded " to encourage an auteur of the future". One reviewer mentioned Alexandre Astruc's prophecy of the age of the "caméra-stylo", the camera that a new generation would use with the efficacy with which a writer uses his pen—"here is in fact the first work authentically written with a "caméra-stylo".

paragraph: Section::::New Wave period (1960–68).:Films.:"The Little Soldier".

paragraph: The following year Godard made "Le Petit Soldat" ("The Little Soldier"), filmed on location in Geneva, and dealing with the Algerian War of Independence. The film begins on 13 May 1958, the date of the attempted putsch in Algeria, and ends later the same month. In the film, Bruno Forestier a photojournalist who has links with a right wing paramilitary group working for the French government, is ordered to murder a professor accused of aiding the Algerian resistance. He is in love with Veronica Dreyer, a young woman who has worked with the Algerian fighters. He is captured by Algerian militants and tortured. His organisation captures and tortures her. The 'little soldier' was played by Michel Subor and Veronica Dreyer by Anna Karina—his first collaboration with her. Unlike Seberg, Karina had virtually no experience as an actress and Godard used her awkwardness as an element of her performance. He wrote the dialogue every day and, since it was filmed without direct sound and was dubbed, called dialogue to the actors. Forestier was a character close to Godard himself, an image-maker and intellectual, 'more or less my spokesman, but not totally' Godard told an interviewer. The film, due to its political nature, implied that France was involved in a dirty war, engaging in torture, and was banned by the French government until January 1963. Godard and Karina were a couple by the end of the shoot. She appeared again, along with Belmondo, in Godard's first color film, "A Woman Is a Woman" (1961), which was intended as a homage to the American musical. Adjustments that Godard made to the original version of the story gave it autobiographical resonances, 'specifically in regard to his relationship with Anna Karina'. The film revealed 'the confinement within the four walls of domestic life', and 'the emotional and artistic fault lines that threatened their relationship'.

paragraph: Section::::New Wave period (1960–68).:Films.:"My Life to Live".

paragraph: Godard's next film, "Vivre sa vie" (My Life to Live) (1962), was one of his most popular among critics. Karina starred as Nana, an errant mother and aspiring actress whose financially strained circumstances lead her to the life of a streetwalker. It is an episodic account of her rationalizations to prove she is free, even though she is tethered at the end of her pimp's short leash. In one scene, within a cafe, she spreads her arms out and announces she is free to raise or lower them as she wishes.

paragraph: The film was a popular success and led to Columbia giving him a deal where he would be provided with $100,000 to make a movie, with complete artistic control.

paragraph: Section::::New Wave period (1960–68).:Films.:"Les Carabiniers" and "Contempt".

paragraph: "Les Carabiniers" (1963) was about the horror of war and its inherent injustice. It was the influence and suggestion of Roberto Rossellini that led Godard to make this film which follows two peasants who join the army of a king, only to find futility in the whole thing as the king reveals the deception of war-administrating leaders.

paragraph: His most commercially successful film was "Le Mépris" ("Contempt") (1963), starring Michel Piccoli and one of France's biggest female stars, Brigitte Bardot. A coproduction between Italy and France, "Contempt" became known as a pinnacle in cinematic modernism with its profound reflexivity. The film follows Paul (Piccoli), a screenwriter who is commissioned by the arrogant American movie producer Prokosch (Jack Palance) to rewrite the script for an adaptation of Homer's "Odyssey", which the Austrian director Fritz Lang has been filming. Lang's 'high culture' interpretation of the story is lost on Prokosch, whose character is a firm indictment of the commercial motion picture hierarchy. Another prominent theme is the inability to reconcile love and labor, which is illustrated by Paul's crumbling marriage to Camille (Bardot) during the course of shooting.

paragraph: Section::::New Wave period (1960–68).:Films.:Anouchka Films.

paragraph: In 1964, Godard and Karina formed a production company, Anouchka Films. He directed "Bande à part" ("Band of Outsiders"), another collaboration between the two and described by Godard as ""Alice in Wonderland" meets Franz Kafka." It follows two young men, looking to score on a heist, who both fall in love with Karina, and quotes from several gangster film conventions.

paragraph: "Une femme mariée" (A Married Woman) (1964) followed "Band of Outsiders". It was a slow, deliberate, toned-down black-and-white picture without a real story. The film was shot in four weeks and was "an explicitly and stringently modernist film". It showed Godard's "engagement with the most advanced thinking of the day, as expressed in the work of Claude Lévi-Strauss and Roland Barthes" and its fragmentation and abstraction reflected also "his loss of faith in the familiar Hollywood styles." Godard made the film while he acquired funding for "Pierrot le Fou" (1965).

paragraph: In 1965, Godard directed "Alphaville", a futuristic blend of science fiction, film noir, and satire. Eddie Constantine starred as Lemmy Caution, a detective who is sent into a city controlled by a giant computer named Alpha 60. His mission is to make contact with Professor von Braun (Howard Vernon), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer. "Pierrot le Fou" (1965) featured a complex storyline, distinctive personalities, and a violent ending. Gilles Jacob, an author, critic, and president of the Cannes Film Festival, called it both a "retrospective" and recapitulation in the way it played on so many of Godard's earlier characters and themes. With an extensive cast and variety of locations, the film was expensive enough to warrant significant problems with funding. Shot in color, it departed from Godard's minimalist works (typified by "Breathless", "Vivre sa vie", and "Une femme mariée"). He solicited the participation of Jean-Paul Belmondo, by then a famous actor, in order to guarantee the necessary amount of capital.

paragraph: "Masculin Féminin" (1966), based on two Guy de Maupassant stories, "La Femme de Paul" and "Le Signe", was a study of contemporary French youth and their involvement with cultural politics. An intertitle refers to the characters as "The children of Marx and Coca-Cola." Although Godard's cinema is sometimes thought to depict a wholly masculine point of view, Phillip John Usher has demonstrated how the film, by the way it connects images and disparate events, seems to blur gender lines.

paragraph: Godard followed with "Made in U.S.A" (1966), whose source material was Richard Stark's "The Jugger"; and "Two or Three Things I Know About Her" (1967), in which Marina Vlady portrays a woman leading a double life as housewife and prostitute. A Classic New Wave crime thriller, "Made in the U.S.A" is inspired by American Noir films. Anna Karina stars as the anti-hero searching for her murdered lover; the film includes a cameo by Marianne Faithfull.

paragraph: "La Chinoise" (1967) saw Godard at his most politically forthright so far. The film focused on a group of students and engaged with the ideas coming out of the student activist groups in contemporary France. Released just before the May 1968 events, the film is thought by some to foreshadow the student rebellions that took place.

paragraph: Section::::New Wave period (1960–68).:Films.:"Week-end".

paragraph: That same year, Godard made a more colorful and political film, "Week-end". It follows a Parisian couple as they leave on a weekend trip across the French countryside to collect an inheritance. What ensues is a confrontation with the tragic flaws of the over-consuming bourgeoisie. The film contains some of the most written-about scenes in cinema's history. One of them, an eight-minute tracking shot of the couple stuck in an unremitting traffic jam as they leave the city, is cited as a new technique Godard used to deconstruct bourgeois trends. Startlingly, a few shots contain extra footage from, as it were, before the beginning of the take (while the actors are preparing) and after the end of the take (while the actors are coming out of character). "Week End"'s enigmatic and audacious end title sequence, which reads "End of Cinema", appropriately marked an end to the narrative and cinematic period in Godard's filmmaking career.

paragraph: Section::::New Wave period (1960–68).:Politics.

paragraph: Politics are never far from the surface in Godard's films. One of his earliest features, "Le Petit Soldat", which dealt with the Algerian War of Independence, was notable for its attempt to present the complexity of the dispute rather than pursue any specific ideological agenda. Along these lines, "Les Carabiniers" presents a fictional war that is initially romanticized in the way its characters approach their service, but becomes a stiff anti-war metonym. In addition to the international conflicts Godard sought an artistic response to, he was also very concerned with the social problems in France. The earliest and best example of this is Karina's potent portrayal of a prostitute in "Vivre sa vie".

paragraph: In 1960s Paris, the political milieu was not overwhelmed by one specific movement. There was, however, a distinct post-war climate shaped by various international conflicts such as the colonialism in North Africa and Southeast Asia. Godard's Marxist disposition did not become abundantly explicit until "La Chinoise" and "Week End", but is evident in several films—namely "Pierrot" and "Une femme mariée".

paragraph: Godard has been accused by some of harboring anti-Semitic views: in 2010, in the lead-up to the presentation of Godard's honorary Oscar, a prominent article in the "New York Times" by Michael Cieply drew attention to the idea, which had been circulating through press in previous weeks, that Godard might be an anti-Semite, and thus undeserving of the accolade. Cieply makes reference to Richard Brody's book, "Everything is Cinema: The Working Life of Jean-Luc Godard", and alluded to a previous, longer article published by the Jewish Journal as lying near the origin of the debate. The article also draws upon Brody's book, for example in the following quotation, which Godard made on television in 1981: "Moses is my principal enemy...Moses, when he received the commandments, he saw images and translated them. Then he brought the texts, he didn't show what he had seen. That's why the Jewish people are accursed." Immediately after Cieply's article was published, Brody made a clear point of criticizing the "extremely selective and narrow use" of passages in his book, and noted that Godard's work has approached the Holocaust with "the greatest moral seriousness". Indeed, his documentaries feature images from the Holocaust in a context suggesting he considers Nazism and the Holocaust as the nadir of human history. Godard's views become more complex regarding the State of Israel. In 1970, Godard traveled to the Middle East to make a pro-Palestinian film he didn't complete and whose footage eventually became part of the 1976 film "Ici et ailleurs". In this film, Godard seems to view the Palestinian cause as one of many worldwide Leftist revolutionary movements. Elsewhere, Godard has explicitly identified himself as an anti-Zionist but has denied the accusations of anti-Semitism.

paragraph: Section::::New Wave period (1960–68).:Politics.:Vietnam War.

paragraph: Godard produced several pieces that directly address the Vietnam War. Furthermore, there are two scenes in "Pierrot le fou" that tackle the issue. The first is a scene that takes place in the initial car ride between Ferdinand (Belmondo) and Marianne (Karina). Over the car radio, the two hear the message "garrison massacred by the Viet Cong who lost 115 men". Marianne responds with an extended musing on the way the radio dehumanizes the Northern Vietnamese combatants.

paragraph: In the same film, the lovers accost a group of American sailors along the course of their liberating crime spree. Their immediate reaction, expressed by Marianne, is "Damn Americans!", an obvious outlet of the frustration so many French communists felt towards American hegemony. Ferdinand then reconsiders, "That's OK, we’ll change our politics. We can put on a play. Maybe they’ll give us some dollars." Marianne is puzzled, but Ferdinand suggests that something the Americans would like would be the Vietnam War. The ensuing sequence is a makeshift play where Marianne dresses up as a stereotypical Vietnamese woman and Ferdinand as an American sailor. The scene ends on a brief shot revealing a chalk message left on the floor by the pair, "Long live Mao!" ("Vive Mao!").

paragraph: Notably, he also participated in "Loin du Vietnam" (1967). An anti-war project, it consists of seven sketches directed by Godard (who used stock footage from "La Chinoise"), Claude Lelouch, Joris Ivens, William Klein, Chris Marker, Alain Resnais and Agnès Varda.

paragraph: Section::::New Wave period (1960–68).:Bertolt Brecht.

paragraph: Godard's engagement with German poet and playwright Bertolt Brecht stems primarily from his attempt to transpose Brecht's theory of epic theatre and its prospect of alienating the viewer ("Verfremdungseffekt") through a radical separation of the elements of the medium (in Brecht's case theater, but in Godard's, film). Brecht's influence is keenly felt through much of Godard's work, particularly before 1980, when Godard used filmic expression for specific political ends.

paragraph: For example, "Breathless"' elliptical editing, which denies the viewer a fluid narrative typical of mainstream cinema, forces the viewers to take on more critical roles, connecting the pieces themselves and coming away with more investment in the work's content. Godard also employs other devices, including asynchronous sound and alarming title frames, with perhaps his favorite being the character aside. In many of his most political pieces, specifically "Week-end", "Pierrot le Fou", and "La Chinoise", characters address the audience with thoughts, feelings, and instructions.

paragraph: Section::::New Wave period (1960–68).:Marxism.

paragraph: A Marxist reading is possible with most if not all of Godard's early work. Godard's direct interaction with Marxism does not become explicitly apparent, however, until "Week End", where the name Karl Marx is cited in conjunction with figures such as Jesus Christ. A constant refrain throughout Godard's cinematic period is that of the bourgeoisie's consumerism, the commodification of daily life and activity, and man's alienation—all central features of Marx's critique of capitalism.

paragraph: In an essay on Godard, philosopher and aesthetics scholar Jacques Rancière states, "When in "Pierrot le fou", 1965, a film without a clear political message, Belmondo played on the word 'scandal' and the 'freedom' that the Scandal girdle supposedly offered women, the context of a Marxist critique of commodification, of pop art derision at consumerism, and of a feminist denunciation of women's false 'liberation', was enough to foster a dialectical reading of the joke and the whole story." The way Godard treated politics in his cinematic period was in the context of a joke, a piece of art, or a relationship, presented to be used as tools of reference, romanticizing the Marxist rhetoric, rather than being solely tools of education.

paragraph: "Une femme mariée" is also structured around Marx's concept of "commodity fetishism". Godard once said that it is "a film in which individuals are considered as things, in which chases in a taxi alternate with ethological interviews, in which the spectacle of life is intermingled with its analysis". He was very conscious of the way he wished to portray the human being. His efforts are overtly characteristic of Marx, who in his "Economic and Philosophical Manuscripts of 1844" gives one of his most nuanced elaborations, analyzing how the worker is alienated from his product, the object of his productive activity. Georges Sadoul, in his short rumination on the film, describes it as a "sociological study of the alienation of the modern woman".

paragraph: Section::::Revolutionary period (1968–79).

paragraph: The period that spans from May 1968 indistinctly into the 1970s has been subject to an even larger volume of varying labeling. They include everything from his "militant" period, to his "radical" period, along with terms as specific as "Maoist" and vague as "political". The period saw Godard align himself with a specific revolution and employ a consistent revolutionary rhetoric.

paragraph: Section::::Revolutionary period (1968–79).:Films.

paragraph: Amid the upheavals of the late 1960s, Godard became passionate about "making political films politically." Though many of his films from 1968 to 1972 are feature-length films, they are low budget and challenge the notion of what a film can be. In addition to abandoning mainstream filmmaking, Godard also tried to escape the cult of personality that had formed around him. He worked anonymously in collaboration with other filmmakers, most notably Jean-Pierre Gorin, with whom he formed the Dziga-Vertov cinema collective. During this period, Godard made films in England, Italy, Czechoslovakia, Palestine, and America, as well as France. He and Gorin toured with their work, attempting to create discussion, mainly on college campuses. This period came to a climax with the big budget production "Tout Va Bien", which starred Yves Montand and Jane Fonda. Owing to a motorcycle accident that severely incapacitated Godard, Gorin ended up directing this most celebrated of their work together almost single-handedly. As a companion piece to "Tout va bien", the pair made "Letter to Jane", a 50-minute "examination of a still" showing Jane Fonda visiting with the Viet Cong during the Vietnam War. The film is a deconstruction of Western imperialist ideology. This was the last film that Godard and Gorin made together.

paragraph: In 1978 Godard was commissioned by the Mozambican government to make a short film. During this time his experience with Kodak film led him to criticize the film stock as "inherently racist" since it did not reflect the variety, nuance or complexity in dark brown or dark skin. This was because Kodak Shirley cards were only made for Caucasian subjects, a problem that was not rectified until 1995.

paragraph: Following this important collaboration, Godard met his life partner Anne-Marie Miéville. The two set up a production company, SonImage, in Switzerland and together they made two feature films, "Number Two" and "Comment ca va". They also produced two series for French television, "Six fois deux" and "France/tour/détour/deux enfants". Since Godard returned to mainstream filmmaking in 1980, Anne-Marie Miéville has remained an important collaborator.

paragraph: Section::::Revolutionary period (1968–79).:Jean-Pierre Gorin.

paragraph: After the events of May 1968, when the city of Paris saw total upheaval in response to the "authoritarian de Gaulle", and Godard's professional objective was reconsidered, he began to collaborate with like-minded individuals in the filmmaking arena. The most notable collaborator was Jean-Pierre Gorin, a Maoist student of Louis Althusser, Michel Foucault, and Jacques Lacan (who later became professor of Film Studies at the University of California at San Diego), with a passion for cinema that attracted Godard's attention.

paragraph: Between 1968 and 1973, Godard and Gorin collaborated to make a total of five films with strong Maoist messages. The most prominent film from the collaboration was "Tout Va Bien(1972)." The film starred Jane Fonda, who was, at the time, the wife of French filmmaker Roger Vadim. Fonda was at the height of her acting career, having won an Academy Award for her performance in "Klute" (1971) and, had gained notoriety as left-wing anti-war activist. The male lead was the legendary French singer and actor Yves Montand, who had appeared in prestgious films by Georges Clouzot, Alain Résnais, Sascha Guitry, Vincent Minelli, George Cukor and Costa-Gavras.

paragraph: Section::::Revolutionary period (1968–79).:The Dziga Vertov group.

paragraph: The small group of Maoists that Godard had brought together, which included Gorin, adopted the name Dziga Vertov Group. Godard had a specific interest in Vertov, a Soviet filmmaker—whose adopted name is derived from the verb to spin or rotate and is best remembered for "Man with the Movie Camera" (1929) and a contemporary of both the great Soviet montage theorists, most notably Sergei Eisenstein, and Russian constructivist and avant-garde artists such as Alexander Rodchenko and Vladimir Tatlin. Part of Godard's political shift after May 1968 was toward a proactive participation in the class struggle.

paragraph: Section::::Revolutionary period (1968–79).:Sonimage.

paragraph: In 1972, Godard and Swiss filmmaker Anne-Marie Miéville started the alternative video production and distribution company Sonimage, based in Grenoble. Under Sonimage, Godard produced both "Numéro Deux" (1975) and "Sauve qui peut (la vie)" (1980). In 1976, Godard and Miéville, his wife, collaborated on a series of innovative video works for European broadcast television called "Six fois deux/Sur et sous la communication" (1976) and "France/tour/détour/deux/enfants" (1978).

paragraph: Godard's return to somewhat more traditional fiction was marked with "Sauve qui peut (la vie)" (1980), the first of a series of more mainstream films marked by autobiographical currents: for example "Passion" (1982), "Lettre à Freddy Buache" (1982), "Prénom Carmen" (1984), and "Grandeur et décadence d'un petit commerce de cinéma" (1986). There was, though, another flurry of controversy with "Je vous salue, Marie" (1985), which was condemned by the Catholic Church for alleged heresy, and also with "King Lear" (1987), an essay on William Shakespeare and language. Also completed in 1987 was a segment in the film ARIA which was based loosely from the plot of Armide; it is set in a gym and uses several arias by Jean-Baptiste Lully from his famous Armide.

paragraph: His later films have been marked by great formal beauty and frequently a sense of requiem—"Nouvelle Vague" (New Wave, 1990), the autobiographical "JLG/JLG, autoportrait de décembre" ("JLG/JLG: Self-Portrait in December", 1995), and "For Ever Mozart" (1996). "Allemagne année 90 neuf zéro" ("Germany Year 90 Nine Zero", 1991) was a quasi-sequel to "Alphaville" but done with an elegiac tone and focus on the inevitable decay of age.

paragraph: Between 1988 and 1998, he produced what is perhaps the most important work of his career in the multi-part series "Histoire(s) du cinéma", a monumental project which combined all the innovations of his video work with a passionate engagement in the issues of twentieth-century history and the history of film itself.

paragraph: In 2001, "In Praise of Love" ("Éloge de l'amour") was released. The film is notable for its use of both film and video—the first half captured in 35-mm black and white, the latter half shot in color on DV—and subsequently transferred to film for editing. The blending of film and video recalls the statement from "Sauve Qui Peut", in which the tension between film and video evokes the struggle between Cain and Abel. The film is also noted for containing themes of aging, love, separation, and rediscovery as it follows the young artist Edgar in his contemplation of a new work on the four stages of love.

paragraph: In "Notre musique" (2004), Godard turned his focus to war, specifically, the war in Sarajevo, but with attention to all war, including the American Civil War, the war between the US and Native Americans, and the Israeli–Palestinian conflict. The film is structured into three Dantean kingdoms: Hell, Purgatory and Paradise. Godard's fascination with paradox is a constant in the film. It opens with a long, ponderous montage of war images that occasionally lapses into the comic; Paradise is shown as a lush wooded beach patrolled by US Marines.

paragraph: Godard's film, "Film Socialisme" (2010), premiered in the Un Certain Regard section at the 2010 Cannes Film Festival. It was released theatrically in France in May 2010.

paragraph: Godard was rumored to be considering directing a film adaptation of Daniel Mendelsohn's "", an award-winning book about the Holocaust. In 2013, Godard released the short "Les trois désastres" ("The Three Disasters") as part of the omnibus film "3X3D" with filmmakers Peter Greenaway and Edgar Pera. "3X3D" premiered at the 2013 Cannes Film Festival.

paragraph: His 2014 film "Goodbye to Language", shot in 3-D, revolves around a couple who cannot communicate with each other until their pet dog acts as an interpreter for them. The film was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival, where it won the Jury Prize.

paragraph: In 2015 J. Hoberman reported that Godard is working on a new film. Initially titled "Tentative de bleu", in December 2016 Wild Bunch co-chief Vincent Maraval stated that Godard had been shooting "Le livre d’image" ("The Image Book") for almost two years "in various Arab countries, including Tunisia" and that it is an examination of the modern Arab World.

paragraph: Section::::Personal life.

paragraph: Godard has been married twice, to two of his leading women: Anna Karina (1961–1965) and Anne Wiazemsky (1967–1979). Beginning in 1970, he collaborated personally and professionally with Anne-Marie Miéville.

paragraph: His relationship with Karina in particular produced some of his most critically acclaimed films, and their relationship was widely publicized; "The Independent" described them as "one of the most celebrated pairings of the 1960s." A writer for "Filmmaker" magazine called their collaborations "arguably the most influential body of work in the history of cinema." Karina has said they no longer speak to each other.

paragraph: In 2017, Michel Hazanavicius directed a film about Godard, "Redoubtable", based on the memoir, "One Year After" (2015), by Wiazemsky. It centers on his life in the late 1960s, when he and Wiazemsky made films together. The film premiered at the Cannes Film Festival in 2017. Godard said of the film that it was a "stupid, stupid idea."

paragraph: Section::::Filmography.

paragraph: Feature films

paragraph: BULLET::::- 1960 "Breathless"

paragraph: BULLET::::- 1960 "Le Petit soldat"

paragraph: BULLET::::- 1961 "A Woman Is a Woman"

paragraph: BULLET::::- 1962 "My Life to Live"

paragraph: BULLET::::- 1963 "Les Carabiniers"

paragraph: BULLET::::- 1963 "Contempt"

paragraph: BULLET::::- 1964 "Band of Outsiders"

paragraph: BULLET::::- 1964 "A Married Woman"

paragraph: BULLET::::- 1965 "Alphaville"

paragraph: BULLET::::- 1965 "Pierrot le Fou"

paragraph: BULLET::::- 1966 "Masculin Féminin"

paragraph: BULLET::::- 1966 "Made in U.S.A"

paragraph: BULLET::::- 1967 "Two or Three Things I Know About Her"

paragraph: BULLET::::- 1967 "La Chinoise"

paragraph: BULLET::::- 1967 "Week-end"

paragraph: BULLET::::- 1968 "A Film Like Any Other"

paragraph: BULLET::::- 1968 "One Plus One"

paragraph: BULLET::::- 1969 "Le Gai savoir"

paragraph: BULLET::::- 1969 "British Sounds"

paragraph: BULLET::::- 1970 "Wind from the East" ("Le Vent d'est")

paragraph: BULLET::::- 1971 "Struggle in Italy" ("Lotte in Italia")

paragraph: BULLET::::- 1971 "Vladimir et Rosa"

paragraph: BULLET::::- 1972 "Tout Va Bien"

paragraph: BULLET::::- 1974 "Here and Elsewhere"

paragraph: BULLET::::- 1975 "Number Two"

paragraph: BULLET::::- 1976 "How's It Going?"

paragraph: BULLET::::- 1980 "Every Man for Himself"

paragraph: BULLET::::- 1982 "Passion"

paragraph: BULLET::::- 1983 "First Name: Carmen"

paragraph: BULLET::::- 1985 "Hail Mary"

paragraph: BULLET::::- 1985 "Détective"

paragraph: BULLET::::- 1987 "King Lear"

paragraph: BULLET::::- 1987 "Keep Your Right Up"

paragraph: BULLET::::- 1990 "New Wave"

paragraph: BULLET::::- 1991 "Germany Year 90 Nine Zero"

paragraph: BULLET::::- 1993 "The Kids Play Russian"

paragraph: BULLET::::- 1993 "Oh Woe Is Me"

paragraph: BULLET::::- 1994 "JLG/JLG – Self-Portrait in December"

paragraph: BULLET::::- 1996 "For Ever Mozart"

paragraph: BULLET::::- 2001 "In Praise of Love"

paragraph: BULLET::::- 2004 "Notre musique"

paragraph: BULLET::::- 2010 "Film Socialisme"

paragraph: BULLET::::- 2014 "Goodbye to Language"

paragraph: BULLET::::- 2018 "The Image Book"

paragraph: Section::::Collaboration with ECM Records.

paragraph: Godard shares a friendship with Manfred Eicher, founder and head of the innovative German music label ECM Records. The label has released the soundtracks of "Nouvelle Vague" (ECM NewSeries 1600-01) and "Histoire(s) du cinéma" (ECM NewSeries 1706) by Godard. This collaboration expanded over the years and led on the one hand into the contribution of several stills from Godard’s movies for album covers. On the other hand, Eicher took over the musical direction of many of Godard’s films like "Allemagne 90 neuf zéro", "Hélas Pour Moi", "JLG" or "For Ever Mozart". Tracks from ECM records have also been used in his films (for example Ketil Bjørnstad and David Darling's album Epigraphs was extensively used in the soundtrack for In Praise of Love). Additionally Godard has released a collection of short films on the label with Anne-Marie Miéville called "Four Short Films" (ECM 5001).

paragraph: Album covers with Godard's contribution include:

paragraph: BULLET::::- "Voci", works of Luciano Berio played by Kim Kashkashian (ECM 1735)

paragraph: BULLET::::- "Words of The Angel", by Trio Mediaeval (ECM 1753)

paragraph: BULLET::::- "Morimur", by Christoph Poppen & The Hilliard Ensemble (ECM 1765)

paragraph: BULLET::::- "Songs of Debussy and Mozart", by Juliane Banse & András Schiff (ECM 1772)

paragraph: BULLET::::- "Requiem for Larissa", by Valentin Silvestrov (ECM 1778)

paragraph: BULLET::::- "Soul of Things", by Tomasz Stanko Quartet (ECM 1788)

paragraph: BULLET::::- "Suspended Night", by Tomasz Stanko Quartet (ECM 1868)

paragraph: BULLET::::- "Asturiana: Songs from Spain and Argentina", by Kim Kashkashian & Robert Levin (ECM 1975)

paragraph: BULLET::::- "Distances", by Norma Winstone, Glauco Venier & Klaus Gesing (ECM 2028)

paragraph: BULLET::::- "Live at Birdland", by Lee Konitz, Brad Mehldau, Charlie Haden & Paul Motian (ECM 2162)

paragraph: Section::::See also.

paragraph: BULLET::::- Jean-Luc Godard bibliography

paragraph: Section::::Further reading.

paragraph: BULLET::::- Steritt, David (1998). "Jean-Luc Godard: Interviews". Jackson, Mississippi: University Press of Mississippi. .

paragraph: BULLET::::- Usher, Phillip John (2009). "De Sexe Incertain: Masculin, Féminin de Godard". "French Forum", vol. 34, no. 2, pp. 97–112.

paragraph: BULLET::::- Godard, Jean-Luc (2014). "Introduction to a True History of Cinema and Television". Montreal: caboose. .

paragraph: BULLET::::- Brody, Richard (2008). "Everything Is Cinema: The Working Life of Jean-Luc Godard". .

paragraph: BULLET::::- Temple, Michael. Williams, James S. Witt, Michael (eds.) 2007. "For Ever Godard". London: Black Dog Publishing.

paragraph: BULLET::::- Dixon, Wheeler Winston. "The Films of Jean-Luc Godard". Albany: State University of New York Press, 1997.

paragraph: BULLET::::- Godard, Jean-Luc (2002). "The Future(s) of Film: Three Interviews 2000–01". Bern; Berlin: Verlag Gachnang & Springer. .

paragraph: BULLET::::- Loshitzky, Yosefa. "The Radical Faces of Godard and Bertolucci".

paragraph: BULLET::::- Silverman, Kaja and Farocki, Harun. 1998. "Speaking About Godard". New York: New York University Press.

paragraph: BULLET::::- Temple, Michael and Williams, James S. (eds.) (2000). "The Cinema alone: Essays on the Work of Jean-Luc Godard 1985–2000". Amsterdam: Amsterdam University Press.

paragraph: BULLET::::- Almeida, Jane. Dziga Vertov Group. São Paulo: witz, 2005. .

paragraph: BULLET::::- Nicole Brenez, David Faroult, Michael Temple, James E. Williams, Michael Witt (eds.) (2007). "Jean-Luc Godard: Documents". Paris: Centre Georges Pompidou.

paragraph: BULLET::::- Godard Bibliography (via UC Berkeley)

paragraph: BULLET::::- Diane Stevenson, "Godard and Bazin" in the Andre Bazin special issue, Jeffrey Crouse (ed.), "Film International", Issue 30, Vol. 5, No. 6, 2007, pp. 32–40.

paragraph: BULLET::::- Intxauspe, J.M. (2013). "Film Socialisme: Quo vadis Europa". "hAUSnART", 3: 94–99.

paragraph: BULLET::::- Lake, Steve and Griffiths, Paul, eds. (2007). "Horizons Touched: the Music of ECM". Granta Books. . 2007.

paragraph: BULLET::::- Müller, Lars (2010). "Windfall Light: The Visual Language of ECM". Lars Müller Publishers. & .

paragraph: BULLET::::- Rainer Kern, Hans-Jürgen Linke and Wolfgang Sandner (2010). "Der Blaue Klang". Wolke Verlag. .

paragraph: Section::::External links.

paragraph: BULLET::::- Cinema=Godard=Cinema, a hub for academic information and discussion about Godard

paragraph: BULLET::::- Jean-Luc Godard at the Criterion Collection

paragraph: BULLET::::- Jean Luc Godard Biography at newwavefilm.com

paragraph: BULLET::::- Jean-luc Godard Timeline

paragraph: BULLET::::- Detailed filmography of Jean-Luc Godard on unifrance.org

paragraph: BULLET::::- Jean-Luc Godard at "The Guardian" Film

paragraph: BULLET::::- Jean-Luc Godard at "The New York Times" Movies

paragraph: BULLET::::- "Guardian" interview (29 April 2005)

paragraph: BULLET::::- Video dialog—in French—between Godard and the French writer Stéphane Zagdanski about Literature and Cinema, November 2004

paragraph: BULLET::::- Interview with Jean-Luc Godard, 1972

wikipedia_title: Jean-Luc Godard


text:
Vietnam
Nguyễn dynasty

paragraph: Thoại Ngọc Hầu

paragraph: Thoại Ngọc Hầu (chữ Hán: 瑞玉侯, born Nguyễn Văn Thoại, 1761-1829) was a Vietnamese military administrator of the Nguyễn dynasty. In 1926 the Chau Phu Temple was built to worship at his tomb on Sam Mountain.

description: Military administrator

wikidata_label: Thoại Ngọc Hầu

wikipedia_title: Thoại Ngọc Hầu


text:
Fremantle
Australian
slalom canoeist
2012 Summer Olympics
C-1
C-2
Robin Jeffery
Fremantle, Western Australia
Penrith, New South Wales
Robin Bell
Beijing Olympics
London 2012 profile
Sports-Reference.com profile

categories: Canoeists at the 2012 Summer Olympics,Australian male canoeists,People from Fremantle,1981 births,Olympic canoeists of Australia,Living people

paragraph: Kynan Maley

paragraph: Kynan Maley (born 13 October 1981 in Fremantle) is an Australian slalom canoeist. At the 2012 Summer Olympics he competed in the C-1 event as well as the C-2 event. In C-1 Maley reached the final where he finished in 6th place. He placed in 10th place in C-2 with Robin Jeffery after being eliminated in the semifinal.

paragraph: Originally from Fremantle, Western Australia, but now based at Penrith, New South Wales, Maley has attempted to compete at the Olympics since 2000, but Australia's only C-1 slalom canoe position was taken at each games by Robin Bell, who won the bronze medal at the Beijing Olympics.

paragraph: Section::::External links.

paragraph: BULLET::::- London 2012 profile

paragraph: BULLET::::- Sports-Reference.com profile

description: Canoe slalom racer

wikidata_label: Kynan Maley

wikipedia_title: Kynan Maley


text:
Matanzas
Cuba
baseball
pitcher
Negro leagues
Cuban Stars (East)
Cuban Stars (West)

categories: Cuban baseball players,Negro league baseball players,People from Matanzas,Year of death unknown,1893 births

paragraph: Lucas Boada

paragraph: Lucas Boada (born 1893 in Matanzas - death date unknown) was a Cuban baseball pitcher in the Negro leagues. He played from 1919 to 1924 with the Cuban Stars (East), and the Cuban Stars (West).

description: Negro League Baseball player

wikidata_label: Lucas Boada

wikipedia_title: Lucas Boada


text:
Turin
Italian
slalom canoeist
K1 event
2012 Summer Olympics
Cristina Giai Pron

categories: Canoeists at the 2012 Summer Olympics,Olympic canoeists of Italy,1992 births,Italian female canoeists,Living people

paragraph: Maria Clara Giai Pron

paragraph: Maria Clara Giai Pron (born 31 July 1992 in Turin) is an Italian slalom canoeist who has competed at the international level since 2007.

paragraph: She competed in the K1 event at the 2012 Summer Olympics where she qualified for the semifinal after an impressive 3rd place in the heats. However, she failed to qualify for the final after missing a gate in the semifinal, finishing 15th overall in the competition.

paragraph: She is the younger sister of five-time Olympian and world championship medalist Cristina Giai Pron.

description: Italian canoeist

wikidata_label: Maria Clara Giai Pron

wikipedia_title: Maria Clara Giai Pron


text: Monessen, Pennsylvania

text: prelate

text: Roman Catholic Church

text: bishop

text: Diocese of Erie

text: Pennsylvania

text: Monessen, Pennsylvania

text: Greensburg, Pennsylvania

text: St. Pius X Seminary

text: Erlanger, Kentucky

text: Saint Vincent Seminary

text: Latrobe, Pennsylvania

text: Diocese of Greensburg

text: Irwin, Pennsylvania

text: J.C.L.

text: canon law

text: Catholic University of America

text: Bishop William Connare

text: Sisters of Charity

text: New Alexandria, Pennsylvania

text: moderator of the curia

text: Bishop Lawrence Brandt

text: vicar general

text: monsignor

text: Pope Benedict XVI

text: St. Peter Cathedral

text: grand jury

text: Pennsylvania

text: Josh Shapiro

text: Allentown

text: Scranton

text: Harrisburg

text: Pittsburgh

text: Greensburg

text: laypeople

text: laypeople

text: Curriculum Vitae

categories: People from Monessen, Pennsylvania,1950 births,Living people,Roman Catholic bishops of Erie

paragraph: Lawrence T. Persico

paragraph: Lawrence Thomas Persico (born November 21, 1950, Monessen, Pennsylvania) is an American prelate of the Roman Catholic Church. He has been the bishop of the Diocese of Erie, Pennsylvania since 2012.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life and priestly ministry.

paragraph: Lawrence Persico was born November 21, 1950 in Monessen, Pennsylvania. He attended St. Cajetan Elementary School. In 1969 he graduated from St. Joseph Hall Minor Seminary (now St. Joseph Hall High School) in Greensburg, Pennsylvania. He received his bachelor's degree from the St. Pius X Seminary in Erlanger, Kentucky. He earned his M.Div from Saint Vincent Seminary in Latrobe, Pennsylvania.

paragraph: Persico was ordained as a priest for the Diocese of Greensburg on April 30, 1977.

paragraph: Persico served as parochial vicar of Immaculate Conception Parish in Irwin, Pennsylvania from 1977 to 1980. In 1982, he received a J.C.L. degree in canon law at the Catholic University of America. On his return to the diocese of Greensburg, Bishop William Connare appointed him assistant chancellor of Assumption Hall in Greensburg, where he served from 1983 to 1984. Persico then served as vice-chancellor of the diocese from 1984 to 1989, and chancellor beginning in 1989. During this time, he also served as chaplain to the Sisters of Charity in Greensburg.

paragraph: In 1998, Persico became pastor of Saint James Parish in New Alexandria, Pennsylvania, where he served until being named bishop in 2012.

paragraph: He served as moderator of the curia, and as the bishop's delegate for clergy sexual abuse. In 2005, Bishop Lawrence Brandt made Persico vicar general of the diocese. From 2006 to 2011, he served two terms as vice-president of the Pennsylvania Catholic Conference. He was named a monsignor in either 2005 or 2008.

paragraph: Section::::Episcopal career.

paragraph: Section::::Episcopal career.:Bishop of Erie.

paragraph: On July 31, 2012, Pope Benedict XVI announced the appointment of Persico to the Diocese of Erie, Pennsylvania. He was consecrated on October 1, 2012 at the diocese's St. Peter Cathedral.

paragraph: Section::::Episcopal career.:Response to sex abuse cases.

paragraph: In early 2016, a grand jury investigation, led by Pennsylvania Attorney General Josh Shapiro, began an inquiry into sexual abuse by Catholic clergy in six Pennsylvania dioceses: Allentown, Scranton, Harrisburg, Pittsburgh, Greensburg, and Erie. The grand jury report was published on August 14, 2018.

paragraph: When speaking about Persico's handling of the case of Rev. David Poulson, a perpetrator of sexual abuse, "Shapiro said the diocese knew since at least May 2010 of Poulson’s sexual predator tendencies – but did nothing to report him to authorities until September 2016, in response to a subpoena from the grand jury." Persico was installed as bishop of the Erie Diocese in 2012, which points to the fact that it took him four years to deem the allegations against Poulson to be credible. (Persico claims that "Poulson's name was not raised" during this four year span). Jim VanSickle, one of Poulson's accusers, said in an interview: “I do believe Bishop (Donald) Trautman and Bishop (Lawrence) Persico (of the Erie Diocese) knew." “Father Poulson came forward in 2010 and said he becomes aroused around adolescent boys and he had a problem,” said VanSickle in the same interview. This detail was in fact kept on record within the Bishop's archives ever since 2010. Although Persico's response to abuse cases has been largely praised by the local press, Persico's negligence in the Diocese of Greensburg is well cataloged in the official Grand Jury Report: Page 510 of the report reads: "On April 12, 2002, a phone call was received by Father Lawrence Persico from a witness ("Witness #1"), the contents of which were provided to Statnick. Witness #1 claimed that Sredzinski abused a relative of hers in Brownsville, PA in 1985 and that Sredzinski should be looked into further. There was nothing otherwise noted in the file regarding this phone call, including whether there was any follow-up by the Diocese."

paragraph: Page 509 of Grand Jury Report reads: "According to notes in Sredzinski's Diocesan file, on April 9, 2007, the mother of a classmates of Victim #1 placed a telephone call to Persico and informed him that her son had told her that when he was in 7th or 8th grade, Sredzinski abused Victim #1. It was her understanding that Victim #1's parents tried to report the incident to Statnick when Victim #1 was in 7th or 8th grade, but that nothing was ever done about it. She also indicated that Sredzinski took Victim #1 and her son overnight to Seven Springs when they were young. Persico's response was that because Victim #1 was 28 years old at the time of the mother's call, Victim #1 needed to report any abuse by Sredzinski himself." [The subsequent sentence pertaining to Persico's handling of this particular case is curiously redacted within the official report].

paragraph: In 2017 Persico settled a lawsuit outside of court regarding the complaints a former diocesan employee, after Rev. Daniel Kresinski repeatedly made unwanted advances upon her using obscene sexual gestures. The former employee claims she was forced to resign in October 2013 because the diocese failed to “address or remedy” what she claims was the sexually hostile work environment, according to the lawsuit. Persico initially told her that "he did not want her to contact the press with her complaint and asked her to sign a nondisclosure agreement," which she initially declined to sign. Before the victim finally agreed to a private monetary settlement, Persico's lawyer unsuccessfully requested the Court to throw out the case on the grounds that it “would require the Court to engage in an impermissible evaluation of the church’s internal governance in violation of the First Amendment."

paragraph: Persico was one of the few prelates to be praised in the grand jury report detailing clerical sexual abuse in six Pennsylvania dioceses, for his cooperation with the grand jury investigation. Shapiro stated, "Bishop Persico’s response to this crisis gives me hope. He was the only (bishop) to testify to the grand jury. He wanted to do the right thing. He did."

paragraph: In April 2018, only three months prior to the release of the findings of the grand jury report to the general public, the Diocese of Erie published a list of 34 priests and 17 laypeople who had been "credibly accused" of sexually abusing children. By July, the list had grown to include 64 names.

paragraph: Persico has yet to publicly condemn the extensive history of cover-up orchestrated by his predecessor, Bishop Trautman. Persico acknowledged there had been a cover-up in the church, though, as of May 2019 he has yet to clarify pages 509-510 of the Grand Jury report which make it evident that he failed to report an abuse case to civil authorities while he worked under the Greensburg Diocese. Also, Persico has not explained why it took him four years to review the file of abuse allegations involving Rev. David Poulson within the Erie Diocese. After the Grand Jury report was released, Persico stated that he felt that the grand jury report should have included the names of accused laypeople who worked for the Erie Diocese as well.

paragraph: James Faluszczak claims that he attempted to report an abuse case to the Erie Diocese twice regarding Rev. Daniel J. Martin — "first to Bishop Donald Trautman in 2010, and then to his successor, Bishop Lawrence Persico." Faluszczak says he had "several conversations with Persico from October 2013 to February 2016, in which he also presented allegations on behalf of other victims." Faluszczak says that Persico "totally ignored" his claims. "He certainly treated me as if it was nothing. He didn't take it seriously," complains Faluszczak. "When I told him that Father Martin molested me 15 times, he couldn't even bring himself to say that he was sorry that that happened to me."

paragraph: Section::::External links.

paragraph: BULLET::::- Roman Catholic Diocese of Erie Official Site

paragraph: BULLET::::- Curriculum Vitae

description: Catholic bishop

wikidata_label: Lawrence Thomas Persico

wikipedia_title: Lawrence T. Persico


text:
Henry Raspe, Landgrave of Thuringia
William II, Count of Flanders
Henry II, Duke of Brabant
Marie of Hohenstaufen

categories: Medieval Flemish nobility,House of Reginar,Landgravines of Thuringia,Medieval Flemish women,1225 births,Countesses of Flanders,13th-century people from the county of Flanders,1288 deaths

paragraph: Beatrice of Brabant

paragraph: Beatrice of Brabant (1225 – 11 November 1288), was a Landgravine consort of Thüringia and a Countess consort of Flanders, married to Henry Raspe, Landgrave of Thuringia, and later to William II, Count of Flanders. She was the daughter of Henry II, Duke of Brabant, and Marie of Hohenstaufen. She had no children.

description: Flemish countess

wikidata_label: Beatrice of Brabant

wikipedia_title: Beatrice of Brabant


text: WNBC-TV

text: New York City

text: Andrea Doria

text: JFK

text: Martin Luther King Jr.

text: the Beatles

text: World Trade Center

text: United States television news

text: Peabody

text: Emmys

text: the Bronx

text: Austria

text: Russia

text: Morris High School

text: Peekskill

text: New York University

text: World War II

text: Philippines Campaign

text: USS "PC-470"

text: Newark Evening News

text: Pulitzer Traveling Fellowship

text: Jewish Telegraphic Agency

text: Berlin

text: Soviet sector

text: show trial

text: József Mindszenty

text: Hungarian People's Republic

text: The New York Times

text: Edward R. Murrow

text: NBC

text: radio

text: WNBC

text: television

text: Metromedia

text: WNYW

text: New York City mayors

text: New York State governors

text: Senators from New York

text: United States Presidents

text: Robert D. McFadden

text: Bill Ryan

text: NBC News

text: WNBC-TV

text: WNBC-AM

text: "Andrea Doria"

text: Elvis Presley

text: Brooklyn

text: Marilyn Monroe

text: Harry S. Truman

text: Fidel Castro

text: Beatles

text: Kennedy Airport

text: Malcolm X

text: John Lindsay

text: 1966 transit strike

text: 1968 Democratic National Convention

text: John F. Kennedy

text: Robert F. Kennedy

text: Martin Luther King Jr.

text: Woodstock

text: perp walk

text: Robert Morgenthau

text: Bob and Ray

text: Columbia Records

text: Billy Crystal

text: HBO

text: Roger Maris

text: Barry Pepper

text: New York Press Club

text: Twitter

text: Saint Patrick's Day

text: Peabody Award

text: homeless

text: Emmy Award

text: George Polk Award

text: Lincoln University

text: New York Press Club

text: UPI

text: Peabody Award

text: NATAS

text: Edward R. Murrow Award

text: Fair Media Council

text: City Limits

text: Official Bio at WNBC TV 4 News

categories: American naval personnel of World War II,Television anchors from New York City,American people of Russian-Jewish descent,United States Navy officers,American television journalists,Military personnel from New York City,American people of Austrian-Jewish descent,Peabody Award winners,2017 deaths,New York (state) television reporters,New York University alumni,1924 births,New York (state) Democrats,News & Documentary Emmy Award winners,American male journalists,Jewish American journalists,Journalists from New York City

paragraph: Gabe Pressman

paragraph: Gabriel Stanley "Gabe" Pressman (February 14, 1924 – June 23, 2017) was an American journalist who was a reporter for WNBC-TV in New York City for more than 60 years. His career spanned more than seven decades; the events he covered included the sinking of the "Andrea Doria" in 1956, the assassinations of JFK and Martin Luther King Jr., the Beatles' first trip to the United States, and the attacks on the World Trade Center on 9/11. He was one of the pioneers of United States television news and has been credited as the first reporter to have left the studio for on-the-scene "street reporting" at major events. Dubbed the "Dean of New York Journalism", Pressman's numerous awards include a Peabody and 11 Emmys, and he was considered a New York icon.

paragraph: Section::::Early life and education.

paragraph: Pressman was born and raised in the Bronx, the son of Jewish immigrants, Benjamin Pressman (1893–1970), who was born in Austria, and Lena Rifkin Pressman, born in Russia. His father, a dentist, became a professional magician later in life; he got his start in magic by performing tricks to entertain children when he would go to schools to teach them about proper dental care. Gabe had a younger brother, Paul (1929–2003), who was a psychiatrist.

paragraph: Pressman graduated from Morris High School. He got his start in journalism early; as a young boy of 8 or 9, he made a newspaper for his family, with cheeky headlines such as "Grandma's Spongecake Made With Real Sponges". Later he worked as a cub reporter for the "Peekskill Evening Star" in Peekskill during the summers.

paragraph: He attended New York University, majoring in History and Government, but his education was interrupted during World War II. At 19, he enlisted in the U.S. Navy and served from 1943–46. He took part in the Philippines Campaign while serving as a communications officer aboard the submarine chaser USS "PC-470" in the South Pacific.

paragraph: After the war, Pressman resumed his education, graduating from NYU with a bachelor's degree in 1946, and from the Columbia University Graduate School of Journalism the following year.

paragraph: Section::::Career.

paragraph: After earning his master's degree from Columbia in 1947, Pressman worked for a short period as a journalist for the "Newark Evening News". Columbia then awarded him a Pulitzer Traveling Fellowship, and he spent the next 15 months in Europe as a freelance journalist, contributing feature stories for various outlets, including the Overseas News Agency (a subsidiary of the Jewish Telegraphic Agency). In 1948, he was briefly arrested in Berlin while in the Soviet sector of the city, in what was reported to be a sign of increasing hostilities from the Soviet government toward the west. He was headed to the Polish Consulate Berlin when he was detained, but was released two hours later.

paragraph: Among the events he covered in Europe was the 1949 show trial of Cardinal József Mindszenty, who opposed the communist regime of the new Hungarian People's Republic, which Pressman covered for "The New York Times" and for Edward R. Murrow's radio program.

paragraph: Pressman worked for various New York City newspapers after his return from Europe before becoming a reporter in 1954 for what then was NBC's radio station WNBC, and moved over to television in 1956. Pressman spent the bulk of his broadcast career with NBC. The exception was a seven-year period from 1972 through 1979 when he reported for what was then the Metromedia station, WNEW-TV, Channel 5 (now WNYW). Since 1945, Pressman covered the lives of 10 New York City mayors, 10 New York State governors, 15 Senators from New York, and 13 United States Presidents.

paragraph: Pressman, who described himself as "just a little Jewish guy from the Bronx", became a fixture of New York City. Journalist Robert D. McFadden wrote of Pressman, "A profound, matinee-idol anchorman he was not. But to generations of mayors, governors and ordinary New Yorkers, he was Gabe: the short, rumpled, pushy guy from Channel 4 who seemed always on the scene, elbowing his way to the front and jabbing his microphone in the face of a witness or a big shot."

paragraph: Pressman pioneered street reporting as the first television journalist to do live and on-scene coverage of events. After President Kennedy was shot on November 22, 1963, Pressman went out on the street to interview New Yorkers for their reactions; he was live among a crowd of people listening to a radio update when the news came that Kennedy had died.

paragraph: Pressman was co-anchor (with Bill Ryan) of New York's first early-evening half-hour newscast, the "Pressman-Ryan Report," born out of a devastating 1963 New York City-area newspaper strike. He covered the New York region for NBC News, WNBC-TV and WNBC-AM radio. He was sent by the network to report on many historic events, including the 1956 sinking of the "Andrea Doria", Elvis Presley's Army stint which went through Brooklyn, one-on-one interviews with Marilyn Monroe, Harry S. Truman and Fidel Castro, the 1964 arrival of the Beatles at Kennedy Airport, the assassination of Malcolm X, chasing after newly inaugurated New York mayor John Lindsay in the streets during the 1966 transit strike, the 1968 Democratic National Convention in Chicago, where he reported on the clashes between demonstrators and police, and the aftermath of the assassinations of John F. Kennedy, Robert F. Kennedy and Martin Luther King Jr. Pressman was a reporter for NBC News at the Woodstock festival in upstate New York in 1969.

paragraph: Pressman has been credited with helping create the New York City institution known as the "perp walk," which was born in the 1970s when he clashed with famed District Attorney Robert Morgenthau over access to filming notable suspects after they had been arrested. Morgenthau recalled, "Gabe said, 'We need pictures to report your cases,' and I said, 'You're breaking my heart.'"

paragraph: His reputation as an intrepid reporter is the subject of a gentle lampoon on a recording of Bob and Ray ("The Two and Only," Columbia Records, ca. 1970). A reporter billed as "Gabe Pressman" was played by actor J.D. Cullum in Billy Crystal's HBO film "61*", reporting unfavorably on the baseball exploits of Roger Maris (played by Barry Pepper).

paragraph: He was a past president of the New York Press Club, from 1997 to 2000, and as head of that organization fought for the rights of New York's journalists, both print and electronic.

paragraph: Up until the time of his death in June 2017, Pressman still worked part-time at WNBC, mostly as a blog writer about New York City news on the station's website, and he was active on Twitter. In 2014, he stated that it was an arthritic knee that kept him from chasing stories like he used to. A few months before his death, he covered the 255th annual Saint Patrick's Day Parade in New York, which reportedly was the last time Pressman was on-air.

paragraph: Section::::Personal life.

paragraph: Pressman was married to Emma Mae Kracht from 1953 until their divorce in 1967. They had a son and two daughters. In 1972, he married Vera Elisabeth Olsen, a psychotherapist, with whom he had another son.

paragraph: Pressman died at Mount Sinai Hospital Manhattan on June 23, 2017, aged 93.

paragraph: Section::::Awards.

paragraph: Pressman amassed many awards for his work, including multiple Emmys and a Peabody Award. He won many of those awards for his coverage of the plight of New York City's homeless population.

paragraph: BULLET::::- 11 Emmy Awards

paragraph: BULLET::::- 1958: George Polk Award for Television Reporting

paragraph: BULLET::::- 1981: Lincoln University's Unity award for "Blacks and the Mayor: How Far Apart?"

paragraph: BULLET::::- 1982: New York Press Club's Feature Award for "The Homeless"

paragraph: BULLET::::- 1982: New York State Associated Press Broadcasters Association Award for Excellence in Individual Reporting

paragraph: BULLET::::- 1982: UPI New York State Broadcasters' Award for Best Feature News Story for "The Homeless"

paragraph: BULLET::::- 1983: New York Chapter of Professional Journalists, Sigma Delta Chi's Deadline Club Award for "The Hungry"

paragraph: BULLET::::- 1983: Peabody Award for "Asylum In The Streets"

paragraph: BULLET::::- 1983: Deadline Club Award

paragraph: BULLET::::- 1985: Olive Award for Excellence in Broadcasting

paragraph: BULLET::::- 1986: New York chapter of NATAS Governors' Award

paragraph: BULLET::::- 1989: Edward R. Murrow Award

paragraph: BULLET::::- 2015: Fair Media Council's Folio Lifetime Achievement Award

paragraph: BULLET::::- 2017: "City Limits" Urban Journalism Award "(posthumous)"

paragraph: Section::::External links.

paragraph: BULLET::::- Pressman Recounts NBC4 Coverage of JFK Assassination

paragraph: BULLET::::- Official Bio at WNBC TV 4 News

description: American television journalist

wikidata_label: Gabe Pressman

wikipedia_title: Gabe Pressman


text:
musician
Swedish
doom metal
Candlemass
Michael Amott
Ian Haugland
Europe
Nemesis
Messiah Marcolin
Abstrakt Algebra
Mats Levén
Mike Wead
doom metal
Krux
Avatarium
Marcus Jidell
chronic fatigue syndrome
Grave
Entombed
Jörgen Sandström
Per Wiberg
Anders Iwers
Tiamat
Epicus Doomicus Metallicus
Nightfall
Ancient Dreams
Tales of Creation
Chapter VI
Dactylis Glomerata
From the 13th Sun
Doomed for Live - Reunion 2002
Candlemass
King of the Grey Islands
Lucifer Rising
Death Magic Doom
Psalms for the Dead
The Door to Doom
Krux
II
Moonhorse
Avatarium
All I Want
The Girl with the Raven Mask
Hurricanes and Halos
The Doomsday Kingdom
Songs of Torment, Songs of Joy

categories: Swedish heavy metal bass guitarists,Swedish male singers,Male bass guitarists,1963 births,Swedish heavy metal singers,Krux members,Living people,Candlemass (band) members

paragraph: Leif Edling

paragraph: Leif Edling (born 6 August 1963) is a Swedish musician, best known as the main songwriter, bass player and one of the founding members of the Swedish doom metal band Candlemass. He's the only constant member of the band since its inception to the present day. Nevertheless, since band's second reunion in 2002 Edling has been backed up again by founding rhythm guitarist Mats Björkman, who had been absent from 1997 to 2002 and was replaced by Michael Amott.

paragraph: Edling started his musical career in the band Trilogy, then under the name of Toxic, as a singer together with Ian Haugland (later the drummer of Europe) in 1979. He then played in a band named Witchcraft but left in 1981 and formed Nemesis in 1982. Before the Candlemass official releases, Edling also handled vocal duties in addition to playing bass.

paragraph: After the departure of Messiah Marcolin, Candlemass became his solo project, until the band reformed in 2002. In 1994, when Candlemass fell apart, Leif had started the band Abstrakt Algebra with Mats Levén on vocals and Mike Wead on guitar. The band met with limited success and split up after one album.

paragraph: In 2002 he founded another doom metal band, named Krux, also with Mats Levén on vocals, and in 2013 founded Avatarium with Marcus Jidell on guitar and Jidell's wife, Jennie-Ann Smith on vocals.

paragraph: Since early 2014 Edling has been unable to tour with either Candlemass or Avatarium due to unspecified health problems, though believed to be chronic fatigue syndrome. Candlemass have either been using former Grave/Entombed bassist Jörgen Sandström, or keyboard player Per Wiberg has been switching to bass, while Anders Iwers of Tiamat has been filling in with Avatarium.

paragraph: Section::::Equipment.

paragraph: Mesa Boogie 400+ Amplifier, Ampeg 8 x 10 cabinet. Fender precision 57' vintage, Gibson Thunderbird bass

paragraph: Section::::Discography.

paragraph: Section::::Discography.:With Nemesis.

paragraph: BULLET::::- "The Day of Retribution" −1984

paragraph: Section::::Discography.:With Candlemass.

paragraph: BULLET::::- "Epicus Doomicus Metallicus" – 1986

paragraph: BULLET::::- "Nightfall" – 1987

paragraph: BULLET::::- "Ancient Dreams" – 1988

paragraph: BULLET::::- "Tales of Creation" – 1989

paragraph: BULLET::::- "Live" – 1990 (live)

paragraph: BULLET::::- "Chapter VI" – 1992

paragraph: BULLET::::- "Dactylis Glomerata" – 1998

paragraph: BULLET::::- "From the 13th Sun" – 1999

paragraph: BULLET::::- "Doomed for Live - Reunion 2002" – 2003 (live double CD)

paragraph: BULLET::::- "Candlemass" – 2005

paragraph: BULLET::::- "King of the Grey Islands" – 2007

paragraph: BULLET::::- "20 Year Anniversary Party" – 2007 (DVD)

paragraph: BULLET::::- "Lucifer Rising" – 2008 (EP)

paragraph: BULLET::::- "Death Magic Doom" – 2009

paragraph: BULLET::::- "Psalms for the Dead" – 2012

paragraph: BULLET::::- "Death Thy Lover" - 2016 (EP)

paragraph: BULLET::::- "House of Doom" - 2018 (EP)

paragraph: BULLET::::- "The Door to Doom" - 2019

paragraph: Section::::Discography.:With Abstrakt Algebra.

paragraph: BULLET::::- "Abstrakt Algebra" – 1994

paragraph: BULLET::::- "Abstrakt Algebra II" – 2008

paragraph: Section::::Discography.:With Krux.

paragraph: BULLET::::- "Krux" – 2003

paragraph: BULLET::::- "II" – 2006

paragraph: BULLET::::- "III – He Who Sleeps Amongst the Stars" – 2011

paragraph: Section::::Discography.:With Avatarium.

paragraph: BULLET::::- "Moonhorse" – 2013 (12")

paragraph: BULLET::::- "Avatarium" – 2013 (CD, double LP)

paragraph: BULLET::::- "All I Want" – 2014 (12")

paragraph: BULLET::::- "The Girl with the Raven Mask" - 2015 (CD, double LP)

paragraph: BULLET::::- "Hurricanes and Halos" - 2017 (CD, double LP)

paragraph: Section::::Discography.:With The Doomsday Kingdom.

paragraph: BULLET::::- "The Doomsday Kingdom" – 2017

paragraph: Section::::Discography.:Solo.

paragraph: BULLET::::- "Songs of Torment, Songs of Joy" – 2008

description: Swedish musician

wikidata_label: Leif Edling

wikipedia_title: Leif Edling


text: English

text: Kirkby Lonsdale

text: Westmorland

text: solicitor

text: Norwich

text: Church Missionary Society

text: Watton

text: Hertfordshire

text: Continental society

text: Foreign Aid Society

text: Evangelical Alliance

text: Tractarian Movement

text: Irish Church Missions

text: Parker Society

text: hymn

text: Edward Henry Bickersteth

text: bishop of Exeter

text: Henry, Baron Langdale

text: Master of the Rolls

text: Robert Bickersteth

text: Bishop of Ripon

text: Thomas Bignold

text: Edward Henry Bickersteth

text: Bishop of Exeter

text: Edward Bickersteth

text: Cambridge Mission to Delhi

text: bishop of South Tokyo

text: Edward Bickersteth

text: (Dean of Lichfield)

text: Revd T.R. Birks

categories: 1850 deaths,People from Kirkby Lonsdale,1786 births

paragraph: Edward Bickersteth (priest)

paragraph: Edward Bickersteth (1786–1850) was an English evangelical clergyman.

paragraph: Section::::Life.

paragraph: He was born at Kirkby Lonsdale, Westmorland, fourth son of Henry Bickersteth a surgeon. Bickersteth attended Kirby Longsdale Grammar School and practised as a solicitor at Norwich from 1812 to 1815.

paragraph: Within space of only 11 days in December 1815 he was ordained both as a deacon and priest. In January 1816 travelled to Africa to inspect and report on the work of the Church Missionary Society (CMS). He continued to travel overseas in connection with the work of the CMS throughout his life. He was the secretary of the CMS from 1824 to 1831.

paragraph: On receiving the living of Watton, Hertfordshire, in 1830, he resigned his secretaryship, but continued to lecture and preach, both for the "Church Missionary Society" and the "Society for the Conversion of the Jews". He was instrumental in the merger of the Anglican Central Committee and the Continental society in 1840 to form the Foreign Aid Society which supported evangelical Protestant ministry on the continent of Europe.

paragraph: Bickersteth met Anthony Ashley-Cooper, 7th Earl of Shaftesbury in 1835. The Earl made a visit of several days to Watton Rectory in the summer 1836. Following this visit the pair became the best of friends with Bickersteth becoming one of the great reformers closest advisers.

paragraph: He was active in promoting the Evangelical Alliance of 1845, strongly opposed the Tractarian Movement, and was one of the founders of the 1849 created Irish Church Missions, and also of the 1841 created Parker Society, societies.

paragraph: Section::::Works.

paragraph: His works include "A Scripture Help" (London, 1816), which has been translated into many European languages, and "Christian Psalmody" (London, 1833), a collection of over 700 hymns, which forms the basis of the "Hymnal Companion" (London, 1870), compiled by his son, Edward Henry Bickersteth, bishop of Exeter (1885–1890).

paragraph: Section::::Family.

paragraph: Bickersteth was brother of Henry, Baron Langdale, Master of the Rolls (1836–1851), and uncle of Robert Bickersteth, Bishop of Ripon (1857–1884).

paragraph: His wife Sarah, who Bickersteth married in 1812, was the eldest daughter of Thomas Bignold of Norwich, together they had six children. Edward Henry Bickersteth (1825-1906) Bishop of Exeter was his only son and Edward Bickersteth, founder of the Cambridge Mission to Delhi and later bishop of South Tokyo, his grandson.

paragraph: Edward Bickersteth (Dean of Lichfield), was his nephew,

paragraph: Section::::References.

paragraph: BULLET::::- Attribution

paragraph: Section::::Sources.

paragraph: BULLET::::- Revd T.R. Birks, , New York, 1851

description: English priest, died 1850

wikidata_label: Edward Bickersteth

wikipedia_title: Edward Bickersteth (priest)


text:
Polish noble
Chmieleccy noble family
voivode of Kiev
Teofila Chmielecka
Bończa coat of arms
Władysław A. Serczyk

categories: Polish nobility,Secular senators of the Polish–Lithuanian Commonwealth,1630 deaths,Year of birth unknown

paragraph: Stefan Chmielecki

paragraph: Stefan Chmielecki (died 1630) was a Polish noble of Chmieleccy noble family and voivode of Kiev (1629–1630). He was married to Teofila Chmielecka. He used Chmielecki's family crest: Bończa coat of arms

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Władysław A. Serczyk, Na dalekiej Ukrainie. Dzieje Kozaczyzny do 1648 roku, Kraków - Wrocław 1984.

description: Polish noble

wikidata_label: Stefan Chmielecki

wikipedia_title: Stefan Chmielecki