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Alienation in Jean-Luc Godard’s Tout Va Bien (1972)

Abstract Details

2007, MA, University of Cincinnati, Design, Architecture, Art and Planning : Art History.
Jean-Luc Godard’s (b. 1930) Tout va bien (1972) cannot be considered a successful political film. In chapter one I examine the first part of Godard’s film career (1952-1967). Influenced by the events of May 1968, Godard renounced his films as bourgeois only to announce a new method of filmaking that reflected French Maoist politics. In chapter two I discuss Godard and the Dziga Vertov Group’s last film Tout va bien. This film displays a marked difference in style from Godard’s earlier films, yet does not display a clear understanding of how to make a political film of this measure without alienating the audience. In contrast to this film, I contrast Guy Debord’s (1931-1994) contemporaneous film The Society of the Spectacle (1973). Debord successfully dealt with alienation in film. A study of Godard’s filmaking from this period can dispel the idea of paradox in his oeuvre of film.
Kim Paice (Advisor)
58 p.

Recommended Citations

Citations

  • Alich, A. (2007). Alienation in Jean-Luc Godard’s Tout Va Bien (1972) [Master's thesis, University of Cincinnati]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187058681

    APA Style (7th edition)

  • Alich, Anna. Alienation in Jean-Luc Godard’s Tout Va Bien (1972). 2007. University of Cincinnati, Master's thesis. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187058681.

    MLA Style (8th edition)

  • Alich, Anna. "Alienation in Jean-Luc Godard’s Tout Va Bien (1972)." Master's thesis, University of Cincinnati, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187058681

    Chicago Manual of Style (17th edition)