Colin MacCabe is Distinguished Professor of English and Film at the University of Pittsburgh and Associate Director of the London Consortium. His books include The Eloquence of the Vulgar: Cinema, Language and Politics (1999), Godard: A Portrait of the Artist at 70 (2004), T.S. Eliot (2006), and The Butcher Boy (2007). He has also produced feature films, television documentaries and installations, his most recent films are Derek (2008) and Ways of Listening (2012).Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She has written extensively on film and film theory. Her books include Fetishism and Curiosity (1996), Death Twenty-four Times a Second: Stillness and the Moving Image (2006), Experimental  British Television (edited with Jamie Sexton, 2007), and Visual and Other Pleasures (2nd edition, 2009). She has co-directed films, including Riddles of the Sphinx (1978) and Frida Kahlo and Tina Malatti (1980), as well as the documentary Disgraced  Monuments (1996).

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• Preface (Laura Mulvey and Colin MacCabe)Introduction: Essays from the London Consortium (Colin MacCabe)1. Le Mépris (Jean-Luc Godard 1963) and its story of cinema: a ‘fabric of quotations’ (Laura Mulvey)2. Foreground, Background, Drama: The Cinematic Space of Le Mépris (Ross Exo Adams)3. Godard’s Apart-ment Architectures: The Reality of Abandonment in Le Mépris (Alice Gavin)4. ‘O gods . . .’ Hidden Homeric Deities in Godard’s Le Mépris (James Wilkes)5. Godard’s Women (Nicky Falkof)6. The Signature of the French New Wave (Godard’s Le Mépris) (Jake Reeder)7. Le Mépris and the Hollywood musical (John Shanks)8. The written and the writing Or how Godard’s film functions textually (Elia Ntaousani)9. Pure Cinema? Blanchot, Godard, Le Mépris (Oliver H. Harris)10. Stasis and statuary in Bazinian cinema (Jonathan Law)11. ‘FAUX RACCORD’: Mismatch, Noise and Transformation in the Work of Jean-Luc Godard (Rob Gallagher)12. Anti-theatricality and gesture as antidotes to the commodification of cinema: Godard’s Le Mépris and Pasolini’s La Ricotta (Elena Crippa)13. ‘Not necessarily in that order’: Contempt, Adaptation and the Metacinematic (William Viney)14. ‘So What Am I Supposed To Do?’ Thoughts of Action and Actions of Thought in Godard’s Contempt (Richard Martin)15. In Translation: re-conceptualising ‘‘home’’ through Le Mépris and its source texts (Jonathan Gross)16. Producing Prokosch: Godard, Levine, Palance, Minnelli and a lament to lost Hollywood (Walter Stabb)17. Experimenting with Cinema in Godard’s Le Me´pris: The Past and the Present Between Possibility and Impossibility (Raphaelle J Burns)18. Cinema at the Intervals of Cinema (Burhanuddin Baki)19. Godard’s Lingering Camera From Le Mépris to Passion and Back (Anna Manubens)Index

Colin MacCabe is Distinguished Professor of English and Film at the University of Pittsburgh and Associate Director of the London Consortium. His books include The Eloquence of the Vulgar: Cinema, Language and Politics (1999), Godard: A Portrait of the Artist at 70 (2004), T.S. Eliot (2006), and The Butcher Boy (2007). He has also produced feature films, television documentaries and installations, his most recent films are Derek (2008) and Ways of Listening (2012).Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She has written extensively on film and film theory. Her books include Fetishism and Curiosity (1996), Death Twenty-four Times a Second: Stillness and the Moving Image (2006), Experimental  British Television (edited with Jamie Sexton, 2007), and Visual and Other Pleasures (2nd edition, 2009). She has co-directed films, including Riddles of the Sphinx (1978) and Frida Kahlo and Tina Malatti (1980), as well as the documentary Disgraced  Monuments (1996).

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• Preface (Laura Mulvey and Colin MacCabe)Introduction: Essays from the London Consortium (Colin MacCabe)1. Le Mépris (Jean-Luc Godard 1963) and its story of cinema: a ‘fabric of quotations’ (Laura Mulvey)2. Foreground, Background, Drama: The Cinematic Space of Le Mépris (Ross Exo Adams)3. Godard’s Apart-ment Architectures: The Reality of Abandonment in Le Mépris (Alice Gavin)4. ‘O gods . . .’ Hidden Homeric Deities in Godard’s Le Mépris (James Wilkes)5. Godard’s Women (Nicky Falkof)6. The Signature of the French New Wave (Godard’s Le Mépris) (Jake Reeder)7. Le Mépris and the Hollywood musical (John Shanks)8. The written and the writing Or how Godard’s film functions textually (Elia Ntaousani)9. Pure Cinema? Blanchot, Godard, Le Mépris (Oliver H. Harris)10. Stasis and statuary in Bazinian cinema (Jonathan Law)11. ‘FAUX RACCORD’: Mismatch, Noise and Transformation in the Work of Jean-Luc Godard (Rob Gallagher)12. Anti-theatricality and gesture as antidotes to the commodification of cinema: Godard’s Le Mépris and Pasolini’s La Ricotta (Elena Crippa)13. ‘Not necessarily in that order’: Contempt, Adaptation and the Metacinematic (William Viney)14. ‘So What Am I Supposed To Do?’ Thoughts of Action and Actions of Thought in Godard’s Contempt (Richard Martin)15. In Translation: re-conceptualising ‘‘home’’ through Le Mépris and its source texts (Jonathan Gross)16. Producing Prokosch: Godard, Levine, Palance, Minnelli and a lament to lost Hollywood (Walter Stabb)17. Experimenting with Cinema in Godard’s Le Me´pris: The Past and the Present Between Possibility and Impossibility (Raphaelle J Burns)18. Cinema at the Intervals of Cinema (Burhanuddin Baki)19. Godard’s Lingering Camera From Le Mépris to Passion and Back (Anna Manubens)Index

Colin MacCabe is Distinguished Professor of English and Film at the University of Pittsburgh and Associate Director of the London Consortium. His books include The Eloquence of the Vulgar: Cinema, Language and Politics (1999), Godard: A Portrait of the Artist at 70 (2004), T.S. Eliot (2006), and The Butcher Boy (2007). He has also produced feature films, television documentaries and installations, his most recent films are Derek (2008) and Ways of Listening (2012).Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She has written extensively on film and film theory. Her books include Fetishism and Curiosity (1996), Death Twenty-four Times a Second: Stillness and the Moving Image (2006), Experimental  British Television (edited with Jamie Sexton, 2007), and Visual and Other Pleasures (2nd edition, 2009). She has co-directed films, including Riddles of the Sphinx (1978) and Frida Kahlo and Tina Malatti (1980), as well as the documentary Disgraced  Monuments (1996).

Select Guide Rating

• Preface (Laura Mulvey and Colin MacCabe)Introduction: Essays from the London Consortium (Colin MacCabe)1. Le Mépris (Jean-Luc Godard 1963) and its story of cinema: a ‘fabric of quotations’ (Laura Mulvey)2. Foreground, Background, Drama: The Cinematic Space of Le Mépris (Ross Exo Adams)3. Godard’s Apart-ment Architectures: The Reality of Abandonment in Le Mépris (Alice Gavin)4. ‘O gods . . .’ Hidden Homeric Deities in Godard’s Le Mépris (James Wilkes)5. Godard’s Women (Nicky Falkof)6. The Signature of the French New Wave (Godard’s Le Mépris) (Jake Reeder)7. Le Mépris and the Hollywood musical (John Shanks)8. The written and the writing Or how Godard’s film functions textually (Elia Ntaousani)9. Pure Cinema? Blanchot, Godard, Le Mépris (Oliver H. Harris)10. Stasis and statuary in Bazinian cinema (Jonathan Law)11. ‘FAUX RACCORD’: Mismatch, Noise and Transformation in the Work of Jean-Luc Godard (Rob Gallagher)12. Anti-theatricality and gesture as antidotes to the commodification of cinema: Godard’s Le Mépris and Pasolini’s La Ricotta (Elena Crippa)13. ‘Not necessarily in that order’: Contempt, Adaptation and the Metacinematic (William Viney)14. ‘So What Am I Supposed To Do?’ Thoughts of Action and Actions of Thought in Godard’s Contempt (Richard Martin)15. In Translation: re-conceptualising ‘‘home’’ through Le Mépris and its source texts (Jonathan Gross)16. Producing Prokosch: Godard, Levine, Palance, Minnelli and a lament to lost Hollywood (Walter Stabb)17. Experimenting with Cinema in Godard’s Le Me´pris: The Past and the Present Between Possibility and Impossibility (Raphaelle J Burns)18. Cinema at the Intervals of Cinema (Burhanuddin Baki)19. Godard’s Lingering Camera From Le Mépris to Passion and Back (Anna Manubens)Index