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Jean-Luc Godard's Hail Mary : women and the sacred in film

Auteur: Maryel Locke; Charles Warren; Jean-Luc Godard; Anne-Marie Miéville
Uitgever: Carbondale : Southern Illinois University Press, ©1993.
Editie/Formaat:   eBoek : EngelsAlle edities en materiaalsoorten bekijken.
Database:WorldCat
Samenvatting:
Maryel Locke and Charles Warren present twelve original essays by film critics, filmmakers, theologians, and philosophers that examine the 1985 film Hail Mary, directed by Jean-Luc Godard, and its companion film, The Book of Mary, directed by Anne-Marie Mieville. (The films are released under the one title Hail Mary) The interpretative essays offer a rich spectrum of analysis and opinion representing many divergent  Meer lezen...
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Details

Genre/Vorm: Electronic books
Aanvullende fysieke materiaalsoort: Print version:
Jean-Luc Godard's Hail Mary.
Carbondale : Southern Illinois University Press, ©1993
(DLC) 92029569
(OCoLC)26501964
Genoemd persoon: Mary, Blessed Virgin Saint; Mary, Blessed Virgin.; Jean-Luc Godard; Anne-Marie Miéville; Jean-Luc Godard; Anne-Marie Miéville; Mary, Blessed Virgin Saint.
Genre: Internetbron
Soort document: Internetbron, Computerbestand
Alle auteurs / medewerkers: Maryel Locke; Charles Warren; Jean-Luc Godard; Anne-Marie Miéville
ISBN: 0585107394 9780585107394
OCLC-nummer: 43476049
Opmerkingen: Includes a complete shot breakdown of Hail Mary and The book of Mary by Anne-Marie Miéville, with the English subtitles and the French dialogue.
Mededeling reproductie: Electronic reproduction. [S.l.] : HathiTrust Digital Library, 2010. MiAaHDL
Beschrijving: 1 online resource (xxiii, 235 pages) : illustrations
Details: Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.
Inhoud: Prénom : Marie / Stanley Cavell --
A history of the public controversy / Maryel Locke --
Whim, God, and the screen / Charles Warren --
The holy family / Sandra Laugier --
Marie/Eve : continuity and discontinuity in J-L Godard's iconography of women / Laura Mulvey --
Miéville and Godard : from psychology to spirit / David Sterritt --
Jean-Luc Godard's Hail Mary : cinema's "virgin birth" / Inez Hedges --
An alternative to Godard's metaphysics : cinematic presence in Miéville's Le livre de Marie / Ellen Draper --
One Catholic's view / Robert Kiely --
A failure to make contact / Gayatri Chatterjee --
Mariology, or the feminine side of God / Harvey Cox --
Virgin soiled, or a woman like the others? / John Gianvito --
Godard's vision of the new Eve / Vlada Petric with Geraldine Bard.
Verantwoordelijkheid: edited by Maryel Locke and Charles Warren ; with a foreword by Stanley Cavell.
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Fragment:

Maryel Locke and Charles Warren present twelve original essays by film critics, filmmakers, theologians, and philosophers that examine the 1985 film Hail Mary, directed by Jean-Luc Godard, and its companion film, The Book of Mary, directed by Anne-Marie Mieville. (The films are released under the one title Hail Mary) The interpretative essays offer a rich spectrum of analysis and opinion representing many divergent points of view about critical theory, the status of women, and the value of film as a medium. Locke and Warren also include two important interviews with Godard, brief biographies and complete filmographies of Godard and Mieville, a shot breakdown of the two films with the English subtitles, and the script of the French dialogue to complete a remarkably comprehensive treatment of these important films. The only film based on the biblical story of the Virgin Mary, Godard's Hail Mary is a contemporary Swiss/French representation of Mary's virgin pregnancy, the birth of her son, and her relationship to Joseph and her young child. Mieville's companion film is about a young girl named Mary whose parents get a divorce. While neither film is overtly religious, the initial release of Hail Mary brought public protests, court cases, a physical attack on Godard, and condemnation by the Pope. An insight emerging compellingly from the volume as a whole is that the camera, which possesses the capacity to invoke the mystery of human sexuality, itself partakes of, incarnates, the mystery of sexual difference. That is a fundamental fact about the medium of film, but a fact that current film theory, with its incessant identifications of the camera as masculine, denies. This is the central claim that, in the context of contemporary film study, gives the book a sharp critical edge and that seems likely to provoke considerable comment within the field.

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