By Michael Witt
Initially published as a videographic test in movie background, Jean-Luc Godard's Histoire(s) du cinéma has been greatly hailed as a landmark in how we predict approximately and narrate cinema historical past, and in how background is taught via cinema. during this stunningly illustrated quantity, Michael Witt explores Godard’s landmark paintings as either a specimen of an artist's imaginative and prescient and a philosophical assertion at the heritage of movie. Witt contextualizes Godard's theories and ways to historiography and offers a advisor to the wide-ranging cinematic, aesthetic, and cultural forces that formed Godard's groundbreaking rules at the historical past of cinema.
"Michael Witt has given us a transparent, exhilarating, inspiring presentation of Godard's travel de strength, Histoire(s) du cinema, bringing the director's complete physique of labor into concentration within the technique. fantastically written, his examine succeeds brilliantly in making Godard's so much tricky movies and movies understandable, tracing their genealogies in the director's occupation and his issues of reference. this can be crucial studying approximately electronic media's power to "write history," elevating impressive questions about a devoted own method of "cinema history."" --Janet Bergstrom, Professor of Cinema and Media reports, UCLA--Janet Bergstrom, Professor of Cinema and Media reviews, UCLA
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The film, however, does the uncovering of the Frankenstein Monster’s face only once, and Wilbur immediately loses his composure and frantically proposes they box up the exhibit again. Chick tells Wilbur to look away, which makes things 24 REMAKING THE FRANKENSTEIN MYTH ON FILM worse. Wilbur accidentally causes the guillotine to drop on a wax figure as McDougal finally arrives with his insurance agent. Chick angrily tells Wilbur to conceal the wax head while he goes off to meet the owner of the exhibit.
Sandra is surprised and admits she had just heard of their imprisonment and was not their benefactress. She then turns her feminine charms on Wilbur and coyly asks if he has remained true to her; he feigns hurt, and she changes the topic to the upcoming masquerade ball. Sandra calls him “dearest” and gives him express orders to come alone and to pick her up at about sunset. Chick is standing by the door as Sandra prepares to leave. “I’d like to know what he’s got that I haven’t got,” he says. “Brains,” is Sandra’s reply in the script, but she changes this to “A brain,” a more precise double entendre, in the final film version.
Meanwhile, Chick and Wilbur are awaiting the return of the women. Abbott and Costello again ad lib, making a fairly tame script into one madly over the top. Wilbur screams, then suddenly comes to himself, as he asks who has screamed. Chick replies that Wilbur himself had screamed, and then threatens to bring Wilbur to see a psychiatrist if he insists on hallucinating. Joan immediately sees that something is wrong with Wilbur and inquires what is the matter. Chick throws Wilbur a warning glance and Wilbur replies vaguely about imagining that he saw something in the basement.