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Jean-Luc Godard and Dziga Vertov Group DVD Boxset (1968-1974)
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Someonelse
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Date :
20 Feb 2012 11:50:00
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Jean-Luc Godard and Dziga Vertov Group DVD Boxset (1968-1974)
A Films by Jean-Luc Godard, Jean Henri Roger, D.A. Pennebaker, Jean Pierre Gorin
4xDVD9 + 1xDVD5 | ISO+MDS | PAL 4:3 | ~700 mins | Total: 33,09 Gb
Audio: French, English, Czech, Italian - AC3 2.0 @ 256 Kbps (see below) | Subs: Spanish
Genre: Drama, War, Documentary | Italy, France, USA, West Germany, UK
A Films by Jean-Luc Godard, Jean Henri Roger, D.A. Pennebaker, Jean Pierre Gorin
4xDVD9 + 1xDVD5 | ISO+MDS | PAL 4:3 | ~700 mins | Total: 33,09 Gb
Audio: French, English, Czech, Italian - AC3 2.0 @ 256 Kbps (see below) | Subs: Spanish
Genre: Drama, War, Documentary | Italy, France, USA, West Germany, UK
Films made between 1968-1974 by the radical film collective the Dziga Vertov Group (Groupe Dziga Vertov), most notably including Jean-Luc Godard along with Jean-Pierre Gorin. Their films are defined primarily for Brechtian forms, Marxist ideology, and a lack of personal authorship. The group was dissolved soon after the completion of 1972's Letter to Jane.
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| “ | DVD 1 (7,71 Gb): - Comme les autres (1968, 103 mins, French, IMDB). Comme les autres (A Film Like Any Other) was one of the first statements of this new, experimental era in Godard's career, the beginning of his long exodus from the cinema, the first of what would be many attempts to work out, in film form, the political and cinematic questions that concerned him. In that respect, this film is a precursor to the films that Godard would make collaboratively with his Dziga Vertov Group experiments, as well as the later (and ultimately much more advanced) videos he'd create with Anne-Marie Miéville.  - British sounds (1970, 50 mins, English, IMDB). British Sounds is didactic and academic, but not without artistic merit, particularly the use of red and the jump-cutting fists that punch through the British flag repeatedly. The film has six parts, including the famous ten-minute track through an auto assembly line and a four-minute shot of a woman's nude torso; it is also filled with speech, whether it's a text from Engels read aloud or a newscaster talking about the necessities of burning women and children. A real agit-prop film, but, as Godard said about the later -Vladimir and Rosa-, also "a time piece."  DVD 2 (7,30 Gb): - Pravda (1970, 58 mins, French-Czech-English, IMDB). Pravda was filmed clandestinely in Czechoslovakia on 16mm. It's one of those films Godard made with the Groupe Dziga Vertov - a Marxist film about the political situation after the '68 revolution. I'd call it a kind of essay. Basically, we get an hour's worth of montage of very interesting documentary images with voice-over.  - Vent d´est (1970, 89 mins, French, IMDB). "Wind From the East" ("Le Vent D'Est", "Vento do Leste") is a very deep and highly political discussion about communism, capitalism, art, revolution, intellectualism, Maoism, USSR, tradition, paradigms, poetry... It's hard to put it in terms of "it's about...", since the sequence of images is not based in any form of traditional narrative. In fact, it's the very opposite of it, its essence sprouting from the need of subversion, a need directly connected to the social/historical/political/artistic context of the 60's and 70's: to show things in a different way leads the viewer to see differently, therefore to think differently. A experimental cut, poetic even, given the metaphorical quality of the images. The frontiers of film language fades and encounters those of other art forms, not to weaken the film unity nor its message, but to strengthen them both.  DVD 3 (7,59 Gb): - Luttes en Italie (1971, 59 mins, Italian, IMDB). The film reveals how and why a supposedly revolutionary Italian girl has in fact fallen prey to bourgeois ideology.  - Vladimir et Rosa (1971, 92 mins, French, IMDB). In Godard and Gorin's free interpretation of the Chicago Eight trial, Judge Hoffman becomes Judge Himmler (who doodles notes on Playboy centerfolds), the Chicago Eight become microcosms of French revolutionary society, and Godard and Gorin play Lenin and Karl Rosa, respectively, discussing politics and how to show them through the cinema.  DVD 4 (4,50 Gb): - 1PM (78 mins, English, IMDB). Eldridge Cleaver, Jean-Luc Godard, Tom Hayden, Rip Torn all hanging around Chicago, around the time of the Chicago Eight trial. The talks Tom Hayden gave in this movie sum up the feelings most young people had about the political system at the time. His talks in this movie hit home like nothing else I've ever seen or heard. This is a GREAT documentary of the late sixties/early seventies in Chicago. The film also features Jean-Luc out on the south side streets of Chicago grooving on some chanting and percussion, the Sears tower in the background. I also remember an image of Rip Torn riding up in a construction elevator.  - Schick (56 seconds). Godard and Gorin, according to the advantageous contract with the advertising agency Dupuy Compton, of which receive salaries, they were required to propose a project for months and deliver at least one film a year advertising. DVD 5 (5,98 Gb): - Letter to Jane: An investigation about a still (50 mins, French-English, IMDB). Initially conceived as a postscript to Godard and Gorin’s Tout va bien, Letter to Jane took on a life of its own, and continues to incite voracious debate. Is it a prescient work forecasting the Bono era of celebrity-charity whoring, or is it a malicious and misogynist dig at Jane Fonda, who starred in Tout va bien alongside Yves Montand? A fifty-two-minute semiotics lesson given by G-G, Letter to Jane is a loquacious deconstruction of a now famous photograph depicting an anguished Jane Fonda in Hanoi, which appeared in L’Express in 1972.  - Ici et ailleurs (53 mins, French-Arabic-German, IMDB). Godard, Miéville and Gorin examine the parallel lives of two families - one French, one Palestinian - using an exploratory combination of film and video.  | ” |
| “ | In 1970, the American publishing house Grove Press released a press release announcing an American screening tour of films by the French Marxist film collective, the Dziga Vertov Group. The two most prominent members of the group, Jean-Luc Godard and Jean-Pierre Gorin, would accompany the films. This cinema group formed in May 1968, and consists of the director [Godard] and several young filmmakers. The films will be exhibited primarily in non-theatrical (university; film society) situations. According to Godard, the Dziga-Vertov Group is committed to producing more films and exhibiting more films differently (economically and aesthetically).  The tour, covering six states, was undertaken primarily to fund the Group’s latest project, ‘Till Victory, a depiction of the Palestinian revolutionary movement, which had been shot but not edited. It wasn’t the first time Godard had undertaken such tours to promote his films, but it was the first time the Dziga Vertov Group had. The distinction was perhaps greater for him than it was for his American audiences. The DVG signaled a definitive renunciation of his career so far—which he rejected, according to Amos Vogel, “as hopelessly bourgeois” - not excluding the cult of auteurism which had made him one of the most famous names in European cinema. The Group’s films contained no individual credits and were always espoused as collective endeavours. According to James Roy McBean  By working collectively and withholding his personal “signature” (the art consumer’s guarantee of “originality”) Godard challenges [the] glorification of the individual, and by de-emphasising the exchange value of his reputation, Godard attempts to shift the film-goer’s attention to the use value of a film. Also, as Erik Ulman has pointed out, “Parceling out authorial responsibilities in these films is difficult, and, indeed, contrary to their intentions.” Their aim was, in Gorin’s words, a “transformation of practice” and, Ulman expands, “a repudiation of the auteurism which Godard had helped formulate.”  Nevertheless, on the 1970 American tour, Godard was inevitably the name that made the headlines. Many articles mentioned the DVG and his collaborators only in passing. In one article-interview by Andrew Sarris, Jean-Pierre Gorin—by most accounts an equal, if not occasionally greater, participant in the group - is referred to only once, and only as Godard’s “assistant Jean-Pierre something or other”. For most commentators, Godard’s renunciation was just another phase in a prolific, difficult and ever-changing career. Those unimpressed with Godard’s latest digression, such as Sarris, were still hopeful about where he may end up next: “It is a mistake to ever write off Godard completely, no matter how chaotic or confused his career may seem at any moment”.  One gets the impression he may have preferred to be written off. According to Julia Lesage, he had escaped from a stultifying bourgeois family into the world of pure cinema. But he found after a few years as director that the commercial production-distribution process had trapped him within an equally stultifying but larger bourgeois family.  In 1967 he explained: I used to think of the thing we used to call “traditional French film” as a fortress, which had to be taken by storm. I see now that I did in fact succeed in taking it by storm. I occupy it now: I’m its prisoner.... I’m the prisoner, if you like, banging on his dish on the bars of his cell. They let him make all the racket he wants.... Inside the prison I’m free to do as I please, but still I want to get out... The Dziga Vertov Group would constitute his most extreme escape attempt. | ” |
| “ | Special Features: - Filmografía y bibliografía del Grupo Dziga Vertov - Presentación del historiador de cine David Faroult (in French with Spanish subs) | ” |
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thank you for fileserve and filesonic links as always!!!
P.S.: Yep, English subtitles would have been great - any chance?
Thank you Someonelse...
Could you repost?
TIA
Too bad I didn't see them the day they were posted...
TOO BAD !!!!
But thanks to Someonelse, anyway.
Now it's Ok :)