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December 20, 2012

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Evelyn Roak

Glenn, I commend you for this post. Not as some form of mea culpa, as this is far more than that, but because these issues around Godard persist and dialogue on these, at times, thorny entanglements is always worthwhile (and, yes, dialogue engenders adjustment and modulation). Eloge de l'amour, like all of Godard's work, benefits from both a closeness and broadness of attention, something that is in short supply these days. I appreciate your call for an attention to scholarship that is oft lacking in writing on Godard and all film (the continued overlooking of academic work in the film blogosphere highlights this). I for one am looking forward to reading this book which from a brief glace seems to offer insight and a productive methodology: http://www.ucpress.edu/book.php?isbn=9780520273337

Richard Brody's response on twitter, that the article in question is "willfully narrow", strikes me as particularly bizarre in that a) its purpose is to give specific documentation and context to the short and provide the text, b) Everything Is Cinema can be said to suffer from "willful narrowness" in Brody's repeated insistence on reading Godard's work as the reflection and expression, to the exclusion of all other analysis, of biographical instances and romantic longings. To not only reduce one of his finest works JLG/JLG to a page or two, but to isolate the "legend of stereo" sequence from the rest of the film and then to reduce it to one reading (in this case the, yes, discussion of anti-semitism and Israel) while clearly ignoring the Lacanian formula of the gaze on which it is explicitly based, and in dialogue with, seems to this reader as practically a definition of the willfully narrow.

David Jameson

Glenn,

I've always taken notes on books you mention in your posts, but I think your fans would love it if you could compile your "top" 15 or so books in a post. I'm always looking for new texts to read on the subject.

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