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Topic: Contempt (film)

	Contempt of Court - FourDocs
		A classic example of contempt in criminal law is the publication or broadcast, once proceedings are active, of the fact that a person charged with a criminal offence has a previous criminal record.
		Contempt of court is a criminal offence and carries serious penalties – an unlimited fine and/or up to two years imprisonment of the relevant personnel responsible for the offending publication or broadcast.
		To broadcast such a film before proceedings were concluded would almost definitely amount to a contempt and we would not be able to accept your film, certainly not until he/she had either been acquitted or convicted.
	www.channel4.com /fourdocs/about/contempt_court.html (930 words)

	Contempt (film) - Wikipedia, the free encyclopedia
		Contempt (original French title Le Mépris, Italian title Il Disprezzo) is a film released in 1963, directed by Jean-Luc Godard.
		Contempt was filmed and takes place entirely in Italy, with location shooting at the landmark Cinecittà studios near Rome and the Casa Malaparte on Capri.
		The film is often considered one of Godard's best, and an integral entry of the French New Wave.
	en.wikipedia.org /wiki/Contempt_(film) (1312 words)

	Documentary film - Wikipedia, the free encyclopedia
		Documentary film is a broad category of cinematic expression united by the intent to remain factual or non-fictional.
		The newsreel tradition is an important tradition in documentary film; newsreels were also sometimes staged but were usually reenactments of events that had already happened, not attempts to steer events as they were in the process of happening.
		In the 1960s and 1970s documentary film was often conceived as a political weapon against neocolonialism and capitalism in general, especially in Latin America, but also in the then turbulent Quebec society.
	en.wikipedia.org /wiki/Documentary_film (1672 words)

	Contempt - Wikipedia, the free encyclopedia
		Contempt is an intense feeling of disrespect and dislike.
		Contempt (film), known as Le Mépris in its original French, a film by Jean-Luc Godard
		Contempt is the name of a song by Raymond Watts (a.k.a.
	en.wikipedia.org /wiki/Contempt (117 words)

	Contempt (Site not responding. Last check: 2007-10-14)
		Jean-Luc Godard is a legendary figure in film history, a revolutionary who represents modernism in film in the same sense that, for example, Mondrian represents it in painting.
		Contempt was Godard's major attempt to prove that he could make a mainstream film.
		Films rated below five are generally awful even if you like that kind of film - this score is roughly equivalent to one and a half stars from the critics or even less, depending on just how far below five the rating is.
	www.scoopy.com /contempt.htm (1168 words)

	deseretnews.com - Movie review: Contempt \| Deseret Morning News Web edition (Site not responding. Last check: 2007-10-14)
		The film, considered a "New Wave" classic, is also one of Godard's most highly regarded projects — a morality play that is as much a homage to the art of filmmaking as it is a condemnation of the commercialism creeping into cinema even when it was made three decades ago.
		The film is also a study of the disintegrating relationship between Paul and his beautiful but insecure young wife, Camille (Brigitte Bardot).
		"Contempt" is not rated but would probably receive an R for nudity, violence, scattered profanities, glimpses of sexually suggestive paintings and sculptures and a couple of vulgar references.
	deseretnews.com /movies/view/1,1257,362,00.html (461 words)

	MAYER: Ritual Antagonism in Jean-Luc Godard's Contempt (Site not responding. Last check: 2007-10-14)
		Jean-Luc Godard's Contempt (1963) is both a reworking of the Odyssey and a film about filmmaking.
		Contempt savages filmmaking and film consumption, yet the viewer nonetheless feels that film and filmmakers such as Lang are glorified.
		At the beginning of the film, Camille and Paul are tender lovers; at the end, she and the producer die in a car accident, after she and Paul have separated.
	www.apaclassics.org /AnnualMeeting/04mtg/abstracts/MAYER.html (483 words)

	le mepris cinema review (Site not responding. Last check: 2007-10-14)
		This framework is importnat since, sometimes the 'narrative portion' of the film (involving the relationship) is marginalised and relegted to an unimportant position.
		Paul's relationship to the film being made is shown as one that is transient and potentially inconsequential as far as the director (Lang) is concerned.
		Although Godard's latest film has yet to receive an official release here in Ottawa (it appeared for one day as part of a human rights series at the NAC) we can be thankful for this very recent reminder of the pleasures and more importantly the rewards that his cinema has to offer.
	www.geocities.com /Hollywood/Theater/3920/contempt.html (943 words)

	French Films
		The film ends with a second film of a moving camera shot, this one proceeding from Lang to his assistant Godard on screen.
		This film mixes Godard's strange ideas about prostitution with Marxist dogma; as a whole it is not very good, especially to people who are non-Marxists like myself.
		Describing the film as Symbolist is not a complaint, or an expression of bewilderment, but simply an attempt to characterize the narrative strategy of the work.
	members.aol.com /MG4273/french.htm (2510 words)

	Compare Prices and Read Reviews on Contempt at Epinions.com (Site not responding. Last check: 2007-10-14)
		The film also boasted a polish and depth that was far removed from the on-the-fly feel of his earlier work, such as the highly regarded A Bout de Souffle (“Breathless”).
		For example, the film within the film concerns the story of the Odyssey, in which Odysseus’s (Ulysses in Latin) journey home to Ithaca is rendered as difficult as possible by the god Poseidon, but culminates in his successful return and his reclaiming of his wife, Penelope, by the slaying of her suitors.
		Contempt can be seen as a love letter begging forgiveness from Godard to his wife (albeit a rather expensive and public one) to the extent that Paul’s behavior in the story can be seen as contributing to the Javel’s marital difficulties.
	www.epinions.com /content_138637643396 (3328 words)

	DVD Talk > Reviews > Contempt (Le mépris): Criterion Collection > Printer Friendly
		Contempt is loaded to the gills with references to the cinema culture of the times and to literary works, and it's deeply imbued with a theoretical perspective.
		The film is presented in its original aspect ratio of 2.35:1, and is anamorphically enhanced.
		Contempt is a highly colorful film, and the transfer handles the colors admirably, with both primary and pastel colors appearing strong and clear in the print.
	www.dvdtalk.com /reviews/print.php?ID=5254 (1778 words)

	"Forms of Being: Cinema, Aesthetics, Subjectivity" by Leo Bersani and Ulysse Dutoit
		Rather than viewing the film’s portrayal of romantic coupling in terms of a pure moment of bonding that is subsequently corroded by the alienating effects of contempt, the film is said to teach us that this negative emotion is itself a mode of coupling, perfectly in accord with the relational dynamics of romantic passion.
		Contempt cements the couple together in the manner of a monument, fixing both parties in rigid roles determined by presumptions of identity.
		In their analysis of Contempt, Bersani and Dutoit tell us that the couple in the film is “just as fictional” (at what level of reference?) as the couple in the not yet finished film within a film of the Iliad, yet this very reading of this fiction is offered as determinate and exhaustive.
	www.sensesofcinema.com /contents/books/05/36/forms_of_being.html (4384 words)

	scanners (Site not responding. Last check: 2007-10-14)
		It seems to me, in these cases, that the contempt being expressed is more likely to be that of the critic for the director or film (or reader) than that of the director for the character or the audience (unless we're talking about a movie by, say, Alan Parker).
		To have contempt for or mock those in the audience who don't know which episode number an obscure bit of Star Trek trivia comes from is contemptible, and this is the sort of contempt such complaints are usually directed at (or at least accusing a film of being guilty of).
		That's not surprising, since it's a very common form of contempt in all cultural and artistic products, since part of the function of cultural commodities is define and produce cultural identities to enable participants to mutually reinforce each others' self-worth by establishing their position in an in-group contrasted with an out-group.
	blogs.suntimes.com /scanners/2007/01/contempt.html (4643 words)

	Contempt (Site not responding. Last check: 2007-10-14)
		Godard does in fact appear in the film, but he keeps his clothes on; Bardot takes her off on numerous occasions, but she also proves she can act.
		Many Godard films from the mid '60s, during which time his marriage was breaking up, are really letters to his wife: Vivre sa vie, Alphaville, Pierrot le fou, Made in USA -- all of which starred Anna Karina.
		These films can end like threats: in two of them the Karina figure is killed, and in a third the Godard figure blows himself up.
	www.bostonphoenix.com /archive/movies/97/08/21/CONTEMPT.html (1316 words)

	Le Mépris Connection
		Godard's film is about film, about falling out of love, about a script writer who is being asked to compromise.
		Contempt involves the troubles in making a film version of Homer's "Odyssey", while Mulholland Dr. involves the troubles in making a film called "The Sylvia North Story".
		In Contempt we hear the assistant (Francesca) say, "Jerry (the producer) nearly fired everyone.", referring to the movie that is being made.
	www.mulholland-drive.net /studies/contempt.htm (582 words)

	Contempt (by L. Proyect)
		Carlo Ponti and Joseph E. Levine, the producers of Jean-Luc Godard's "Contempt", were eager to make a commercial film that would appeal to a broad audience, while exploiting their "edgy" young director's notoriety.
		In 1963, when the film was made, the United States had not only achieved global economic and military dominance, it also had begun to enforce its cultural standards on the rest of the world as well.
		The optimistic and socially-minded films of the 1930 and 40s were no longer possible since there was no historical agency capable of being the protagonist.
	www.columbia.edu /~lnp3/mydocs/culture/contempt.htm (1075 words)

	New York State Writers Institute - Contempt Film Notes (Site not responding. Last check: 2007-10-14)
		Godard’s obsession with film language was deeply personal: he was working through a paradox that had come to dominate his thinking about the world, and about himself.
		Not only is CONTEMPT a film which burlesques the Hollywood style, but like other films Godard admired, such as Billy Wilder’s SUNSET BOULEVARD and Robert Aldrich’s THE BIG KNIFE, it is a film which subjects the institutions of Hollywood moviemaking to ruthless examination.
		The action shifts to Capri, where the film of the Odyssey is being shot and the remainder of Contempt unfolds, charting the growing estrangement between the couple and Prokosch's interest in an affair with Camille.
	www.albany.edu /writers-inst/fns01n4.html (2197 words)

	Thanatos ex Machina: Godard Caresses the Dead
		The movie's reputation has skyrocketed since then-critic Colin MacCabe deemed it not just the finest film but "the greatest work of art produced in post-war Europe" (1) when it was reissued in 1996-and the critical obtuseness of early commentators is hard to fathom today.
		Contempt centers on Paul Javal, a French screenwriter (played by Michel Piccoli in one of his subtlest performances) who agrees to rewrite the screenplay of an Italian film production based on The Odyssey in order to pay for the Rome apartment where he and his wife (Bardot) want to settle down.
		Lang is filming a valedictory shot on the roof of the ocean-bathed building, and again we see an on-screen camera in motion, this time not coming assertively toward us but sliding elusively to the side.
	www.sensesofcinema.com /contents/01/14/godard_thanatos.html (1938 words)

	Salon \| "Contempt"
		"Contempt" evokes an era when the belief that movies mattered was an article of faith, when there seemed no turning back from the endless potential of movies, and when an eager (if not always large) audience existed for the directors ready to realize that potential.
		"Contempt" ("Le Mepris") links the dissolution of the marriage between a screenwriter (Michel Piccoli) and his wife (Brigitte Bardot) to the end of classical Hollywood moviemaking, represented here by a film of "The Odyssey" directed by Fritz Lang (the director of "Metropolis" and "M," who appears as himself).
		"Contempt" is a film of farewells, not the least of which is directed to those of us sitting in the theater.
	www.salon.com /july97/entertainment/contempt970704.html (1143 words)

	French culture \| cinema: Contempt, by Jean-Luc Godard (Site not responding. Last check: 2007-10-14)
		Contempt was partially backed by the late Joseph E. Levine, who, legend has it, was totally unaware that Godard's characterization of the crass American mogul was modeled on Levine himself.
		But the film is also as cinematically adventurous as any other by Godard.
		The central scene of the movie is a 30-minute dialogue of Beckettian impoverishment between the writer, Paul (Michel Piccoli), and his wife, Camille (Brigitte Bardot).
	www.frenchculture.org /cinema/festival/godard/contempt.html (231 words)

	Contempt (Le Mepris) (Site not responding. Last check: 2007-10-14)
		Most of Godard's films are experimental in nature, but with Contempt, his experimentation is on a different level from that which defined his film school texts, the iconoclastic delights of Alphaville, Pierrot le Fou, or Weekend.
		The re-released Contempt follows the trials and tribulations of Paul Jamel, an aspiring screenwriter (Michel Piccoli, in his debut) who is hired by a vulgar producer, Jerry Prokosch (played, on the edge, by Jack Palance) to resurrect the script of an adaptation of The Odyssey.
		The film is currently being shot by famed director Fritz Lang (played with gusto by the German filmmaker himself), who wants to remain faithful to Homer's vision.
	members.dca.net /~dnb/reviews/contempt.htm (491 words)

	French Culture \| Cinema \| Jean-Luc Godard: Contempt (1963)/Criterion DVD 2003 (Site not responding. Last check: 2007-10-14)
		Contempt is presented by the Criterion Collection in its original theatrical aspect ratio of 2.35:1.
		"Contempt, one of Jean-Luc Godard's greatest masterpieces, has a stately air that breaks with the filmmaker's earlier, throwaway, hit-and-run manner, as though he were this time allowing himself to aim for cinematic sublimity.
		The film has inspired passionate praise - Sight & Sound critic Colin McCabe may have gone slightly overboard in dubbing Contempt "the greatest work of art produced in post-war Europe," but I would say it belongs in the running.
	www.frenchculture.org /cinema/releases/godard/contempt.html (576 words)

	the godard experience
		Contempt (Le Mepris) is Godard's mostly faithful adaptation of an Alberto Moravia novel.
		Most of the film mirrors events off-screen, but you don't need to know the background to be gripped by a relationship—not to mention an art form—that suffers from the pressure of decadence and decay.
		Contempt is ultimately a picture about filmmaking, but, like all of film history, it's Godard's autobiography.
	www.carleton.edu /curricular/MEDA/classes/media110/Friesema/contempt.html (601 words)

	Contempt . Nashville Scene . 02-09-98
		But Camille's love for him turns to contempt when he knuckles under to Prokosh at their first meeting, using the American's interest in his wife as leverage for getting a job.
		Certainly among Godard's most accessible films, Contempt features Bardot's most famous performance, as a wife who consents to be used because her reliance on her husband--who plucked her out of the typing pool--is absolute.
		Contempt may be a lark when compared to Godard's more challenging works, but it still plumbs depths unknown to other filmmakers.
	www.filmvault.com /filmvault/nash/c/contempt1.html (458 words)

	Contempt . Tucson Weekly . 01-26-98
		Contempt was Godard's stab at making a commercially slick feature, though the idea of entering the mainstream didn't sit well with him.
		His film is being directed by Fritz Lang (playing himself), who, with quiet dignity, mouths some of Godard's most cutting dialogue: "CinemaScope is fine for snakes and coffins, but not for people," he advises.
		In fact, the first shot of Contempt is of the production of the first shot of Contempt--we see a camera on a track, shooting the young translator as she walks through a studio lot.
	www.filmvault.com /filmvault/tw/c/contempt1.html (915 words)

	Chicago Reader Movie Review
		A short while after the film's release I invited Susan Sontag, who was at the time a literary and theater critic with some interest in film, to give a talk at my college.
		Most critics regarded these films as pathetic and degrading hack work by a once prestigious director, almost as if someone like Ingmar Bergman had directed the current Kull the Conqueror--despite the fact that Lang was filming a script he'd coauthored in Germany in the 20s.
		Contempt is something more nearly akin to the reverse: a look at ourselves as we might appear to the Greek gods.
	www.chicagoreader.com /movies/archives/0997/09057.html (2639 words)

	Tucson Weekly: CinemaScope Rebel (January 22 - January 28, 1998)
		MEN, BODIES AND Film, a symposium exploring images of masculinity in the media arts, pools the talents of a handful of intellectual and creative types who see cinema not as mere entertainment, but as a window into our assumptions about cultural and sexual identity.
		Krin Gabbard, a professor of comparative literature at SUNY Stony Brook and author of Jammin' at the Margins: Jazz and the American Cinema, puts Mo' Better Blues into a new context with a talk entitled "Signifyin' the Phallus: Representations of the Jazz Trumpet," also from 7 to 9 p.m.
		Saturday, January 24, Peter Lehman, UA professor of media arts and the event's host, discusses The Crying Game in "Crying Over the Melodramatic Penis: Male Nudity in Films of the '90s." Lehman is the author of Running Scared: Masculinity and the Representation of the Male Body.
	www.tucsonweekly.com /tw/01-22-98/cin.htm (1298 words)

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