LKING IMAGES SERIES edited by Yann Perreau Series ISSN 1744-9901 forthcoming in the series: Film Fables Jacques Ranciére Visions of England: Class & Culture in Contemporary Cinema Pasal Dave Cinema The Archeology of Film and the Memory of a Century Jean-Luc Godard & Youssef Ishaghpour ‘Translated by John Howe @BERG ‘Onfrd » New YokForeword Aeknorldgments Part Linterview 1 2 3 Go Constellation and Classification Angle and Montage ‘The Urgency of the Presen Redemption ofthe Past History and Rememorization How Video Made the History of Ginema Possible (Only Ginema Can Narra its Own History: Quotation and Montage Histies) du cinemas Films and Books History and Archeology The History of Love, of the Eye, and of the Gazeeee, Hitchcock and the Power of Cinema The Loa of the Magic of Cinema and the Nowell Vag Before and After Auschwitz What Can Cinema Do? Only Cinema Narrates Largescale History by Narrating its Own History In Cinema asin Christianity mage Image and Montage Towards the Stars Part Il Jean-Luc Godard, Cinéast of Modern Life: The Poetic in the Historical Foreword We're bor in the museum, i's our homeland afer all Jean-Luc Godard The freshness of the Nouvelle Vague (New Wave) movies that came out of France from 1959 onward ‘was not simply the product of raw talent, beastie monochrome photography “and novel jumpcuts boldly assembled on the hoot. Underlying their nar rative approach and often clearly perceptible in their dialogue is a selFconsciously theoretical dimension, The New Wave was a concrete manifestation of the distinctive French cinema whose development had been discussed for over en years in the columns of Les Cahiers du cindna and its predecessor La Revue du cinema Francois Truffaut, twents-eight when Les quatre cents coups was released in 1058, and Jean Tue Godard, whose A bout de souffle appeared the following year when he was thirty, had both written for Cahier from the start.