All the films from Histoire(s) du cinéma in order of first appearance. From the DVD website:
Undeniably a work of enormous scope, Jean-Luc Godard's Histoires du cinéma eludes easy definition. An extended essay on cinema by means of cinema. A history of the cinema, and history interpreted by the cinema. An hommage and a critique. An anecdotal autobiography, illuminated by Godard's encyclopaedic wit, extending the idiom established by JLG par JLG. An epic - and non-linear - poem. A freely associative essay. A vast multi-layered musical composition. Histoire(s) du cinéma is all of these. It is above all, a work made by a man who loves and is fascinated by the world of film.
For American movie critic Jonathan Rosenbaum,…
All the films from Histoire(s) du cinéma in order of first appearance. From the DVD website:
Undeniably a work of enormous scope, Jean-Luc Godard's Histoires du cinéma eludes easy definition. An extended essay on cinema by means of cinema. A history of the cinema, and history interpreted by the cinema. An hommage and a critique. An anecdotal autobiography, illuminated by Godard's encyclopaedic wit, extending the idiom established by JLG par JLG. An epic - and non-linear - poem. A freely associative essay. A vast multi-layered musical composition. Histoire(s) du cinéma is all of these. It is above all, a work made by a man who loves and is fascinated by the world of film.
For American movie critic Jonathan Rosenbaum, Godard's video series represents the culmination of 20th century filmmaking, and is a work "of enormous importance": "Just as Finnegans Wake, the art work to which Histoire(s) du cinéma seems most comparable, situates itself at some theoretical stage after the end of the English language as we know it, Godard's magnum opus similarly projects itself into the future in order to ask, 'What was cinema''."
French journalist Antoine de Baecque sees in the Histoire(s) du cinéma parallels with another revolutionary moment in art history:
"I'm reminded somehow of cubism. 1907 and 'Les Demoiselles d'Avignon'. Picasso would only unveil his painterly manifesto some 20 years later and yet one speaks of the work as something absolutely essential. To pass it over is to miss the century's beginning. The same can be said of Proust or of Joyce. As for the Histoire(s) du cinéma of Godard, those who haven't seen it won't have understood our times. They'll have missed the end of the century."
Notes: cri-image.univ-paris1.fr/celine/celine.html
MISSING
Attila, il flagello di Dio (Febo Mari, 1918)
Des garçons et des filles (Etienne Périer, 1967)
Deuxième bureau contre Kommandantur (René Jayet, 1939)
Divine (Max Ophüls, 1935)
Erreur tragique (Louis Feuillade, 1913)
France/tour/detour/deux/enfants (Jean-Luc Godard, 1977)
Grandeur et décadence d'un petit commerce de cinéma (Jean-Luc Godard, 1986)
Hagop Hovnatanian (Sergei Parajanov, 1967)
Human Wreckage (John Griffith Ray, 1923)
Jericho (Henri Calef, 1946)
Kavalier zolotoy zvezdy (Yuli Raizman, 1950)
La fée libellule (Georges Méliès, 1908)
La Montagne infidèle (Jean Epstein, 1923)
Le mystère des roches de Kador (Léonce Perret, 1912)
Le rouge est mis (Igor Barrère, Hubert Knapp, 1953)
L'enfance de l'art (Jean-Luc Godard & Anne-Marie Miéville, 1992)
Les demoiselles ont eu 25 ans (Agnès Varda, 1993)
L'espoir (André Malraux, 1945)
L'età del ferro (Roberto Rossellini, 1965)
Mon cher sujet (Anne-Marie Miéville, 1988)
Nie wieder Liebe! (Anatole Litvak, 1931)
Padenie dinastii Romanovykh (Esfir Shub, 1927)
Povest plamennykh let (Yuliya Solntseva, 1961)
Prison sans barreaux (Léonide Moguy, 1938)
Quatorze Juillet (René Clair, 1933)
Quelle drôle de gosse! (Léo Joannon, 1935)
Salome vs. Shenandoah (Erie C. Kenton, 1919)
Sperduti nel buio (Nino Martoglio, 1914)
Sur la voie (Léonce Perret, 1913)
The Exploits of Elaine (Louis J. Gasnier, 1914)
The Heart of Humanity (Allen Holubar, 1918)
The Merchant of Venice (Orseon Welles, 1969)
Thy Name is Woman (Fred Niblo, 1924)
Vénus aveugle (Abel Gance, 1941)
Viva l'Italia! (Roberto Rossellini, 1961)
Zoya (Lev Arnshtam, 1945)