一个时代的开端：法国导演戈达尔去世，享年91岁。

利亚摇滚乐的了了。在认识了影评家安德烈·和哲学和将会的编导菲利普·特吕弗、巴尼·夏布罗尔和雅克·里维特等人之后，戈达尔开始为一新影片杂志撰稿，其中的以外和哲学在此之后合办的《影片指南》。

20世纪50中期以《影片指南》影评家出道的那一拨人之外，戈达尔是幼时最优渥的一位。

Godard struck a merick note from the start, defending traditional Hollywood film-making and promoting the likes of Howard Hawks and Otto Preminger over more fashionable figures. Godard also had a reverence for Humphrey Bogart, something that would come out in his first feature, Breathless, which he released in 1960.

戈达尔从一开始就以特立独行的姿态为传统习俗歌舞片影片自制辩护，并宣传霍华德·欧文和奥托·普莱明格等更时尚的人物形象。戈达尔也对汉弗莱·鲍嘉（Humphrey Bogart）怀着尊敬之情，他在1960年面世的第故事片长片《几天后》（Breathess）中的平庸了这一点。

Before that, however, Godard eased his way into film-making via a series of short films, such as Charlotte and Véronique, or All the Boys Are Named Patrick in 1957, which prefigured his loose, apparently slipshod film-making style. An earlier idea of Truffaut’s, about a petty criminal and his girlfriend, had been abandoned, but Godard thought he could turn it into a feature, and asked for permission to use it.

然而，在此之前，戈达尔通过一系列微电影轻松踏入了影片自制领域，如《夏洛特和她的情人》，或《所有的男孩子都叫派翠克》，这便是着他牢固、相比草率的影片自制平庸手法。

Truffaut, meanwhile, had scored a major success with his own feature, The 400 Blows, and his clout helped Godard get his project off the ground. Shot on the Paris streets in 1959, with negligible use of artificial lighting, and a script written day-to-day, Breathless turned into a bona fide cultural phenomenon on its release, making a star of Jean-Paul Belmondo and winning Godard best director at the Berlin film festival.

与此同时，特吕弗凭借自己的《四百斩》给予了巨大成功，他的影响力尽力戈达尔启动了他的计划。1959年在鲁昂街头取景的这部影片，大部分不用有使用人工电灯，每天都在写出剧本谱曲，在上映时，《几天后》视作一种真正的儒家文化现象，使让·保罗·贝尔蒙多视作明星，戈达尔慕尼黑影片节上给予最佳编导金奖。

1959年，戈达尔曾给特吕弗写出了一封信，大体上描述了关于他长片首部《几天后》的计划，在结尾附有“来自你其中的一位儿子的亲切问候。”当时拍出《四百斩》的特吕弗在坎城内影片节拿了最佳编导金奖，而此时的戈达尔资历尚浅，仅有经典之作微电影傍身。在此之后，特吕弗帮他写出了《几天后》三页的剧本谱曲，才以求说服制片人Georges de Beauregard投资这部片。

Godard went on to make a string of seminal films in the 1960s at a furious rate. His next film, Le Petit Soldat, suggested the French government condoned torture, and it was banned until 1963, but it was also the film on which Godard met his future wife, Anna Karina, as well as coining his most famous aphorism, “Cinema is truth at 24 frames a second.”

在20世纪60中期，戈达尔继续以惊人的反应速度取景了一系列开创性的影片。他的后故事片影片《小兵》（Le Petit Soldat）暗示阿尔及利亚政府纵容酷刑，直到1963年才被全面禁止，但这也是戈达尔与将会妻子安娜·托丽娜（Anna Karina）相遇的影片，也是在这里开端了他最有名的那句话：“影片是m二十四次的想像。”

Other highlights included A Woman Is a Woman, a self-referential homage to the Hollywood musical, which again starred Karina, along with Belmondo and won more Berlin awards; the extragant, epic film-about-film-making Contempt, with Michel Piccoli, Brigitte Bardot, Jack Palance and Fritz Lang; and Alphille, a bizarre hybrid of film noir and science fiction.

其他亮点以外《女人们就是女人们》，这是对歌舞片新剧的自我缅怀，该剧再次由托丽娜和贝尔蒙多合演，并赢得了更多慕尼黑金奖项；由布洛克·布科利（Michel Piccoli）、雷利吉特·阿克（Brigitte Bardot）、杰克·帕蒙彼利埃（Jack Palance）和穆勒·福（Fritz Lang）合演的《蔑视》；还有《阿尔法城内》，故事片黑色影片和科幻的奇特混合体。

让·圣日尔曼·戈达尔的《阿尔法城内》(1965)取景在1960中期中的期的鲁昂，这是一个卫星城内扩张强有力且充满戏剧性的以前。戈达尔强调了一个现代主义卫星城内的神秘气质，就像是马上从古老的奥斯曼以前中的迸发出来的——这是一片闪烁的海洋，高楼大厦彻夜灯火通明。

By 1965 Godard’s marriage with Karina had ended in divorce; their last feature together was Made in USA, a homage to American pulp fiction that ran into copyright trouble in the US. By this time Godard was also thoroughly identified with the revolutionary politics of the age, and his film-making reflected this: he set up a film-making collective named after Dziga Vertov, the Soviet director of Man with a Movie Camera, helped to shut down the Cannes film festival in 1968 in sympathy with the student riots in Paris, and collaborated with young Marxist student Jean-Pierre Gorin on Tout Va Bien, a study of a strike in a sausage factory featuring Jane Fonda.

到 1965 年，戈达尔与托琳娜的婚姻以分手终结。他们再一的合作伙伴是《新泽西州装配》，向在新泽西州遇到版权问题的新泽西州低俗小说缅怀。此时，戈达尔也下决心认同了当时的武装革命政治性，他的影片谱曲反映了这一点：他成立了一个影片谱曲集体，以《在手摄影机的人》的苏联编导迪加·维托夫（Dziga Vertov）的名字命名，并在1968年尽力停止了坎城内影片节，并与年轻的马克思主义学校让·布埃尔·戈林（Jean-Pierre Gorin）合作伙伴，自制了以福·方达（Jane Fonda）为主角的《一切安好》。

1968年的5月末，鲁昂时值了学校罢工运动，也就是有名的五月末尤卡坦半岛，戈达尔毅然与过去，尽力投拍政治性影片，激进分子为伍。

Godard also met, in 1970, film-maker Anne-Marie Miéville who would become a regular collaborator, and later partner after the breakdown of his second marriage, to Anne Wiazemsky, who had starred in Godard’s 1967 study of student radicals, La Chinoise.

1970年，戈达尔还与影片制片安妮·玛丽·米哈特（Anne Marie Miéville）好友，在此之后戈达尔与安妮·上莱茵布兰（Anne Wiazemsky）视作性伴侣。上莱茵布兰曾在戈达尔1967年的《中的国姑娘》（La Chinoise）中的出任主角。

As the 70s moved on, Godard’s strident political and intellectual stances began to lose their cachet, and his work reduced in impact in the 1980s.

随着70中期的预示，戈达尔尖刻的政治性和学说立场开始失去其威望，他的经典作品在20世纪80中期的影响力也有所降低。

His 2001 feature In Praise of Love marked a comeback, being selected for the Cannes film festival, while the release of Film Socialisme in 2010 preceded the award in 2010 of an honorary Oscar (the citation read: “For passion. For confrontation. For a new kind of cinema”). Typically, Godard failed to collect it in person. His 2014 film Goodbye to Language saw him pick up a major film-making award, the jury prize at Cannes, and Image Book, which was selected for the 2018 Cannes film festival, was given a one-off “special Palme d’Or”.

他2001年的影片《甜蜜的牧歌》标志着他的复归，入选为坎城内影片节，而2010年《影片共产主义者》的上映早于2010年给予奥斯托荣誉金奖（引文为：“为了，为了对抗，为了一种一新影片”）。他 2014 年的影片《插曲口语》让他给予了一项重要的影片自制金奖，即坎城内影片节得奖者金奖，而入选为 2018 年坎城内影片节的《影像之著作》则给予别金棕榈金奖。

比利时大师辛格曾对他的经典作品招来否定：“他的影片直白、知识分子和气、神经质，沉闷而又无趣。不用完不用了又令人讨厌。”

有人甜蜜之若狂，有人恨之入骨。但令人吃惊的是，戈达尔始终是影片口语的革新者，不停地遭遇战着，力图改变世界性。

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