The artistic impact of Jean-Luc Godard, whose career in cinema has spanned over fifty years and yielded a hundred or more discrete works in different media cannot be overestimated, not only on French and other world cinemas, but on fields as diverse as television, video art, gallery installation, philosophy, music, literature, and dance. The Legacies of Jean-Luc Godard marks an initial attempt to map the range and diversity of Godards impact across these different fields. It contains reassessments of key films like Vivre sa vie and Passion as well as considerations of Godards influence over directors like Christophe Honore. Contributors look at Godards relation to philosophy and influence over film philosophy through reference to Wittgenstein, Deleuze, and Cavell, and show how Godards work in cinema interacts with other arts, such as painting, music, and dance. They suggest that Godards late work makes important contributions to debates in memory and Holocaust Studies. The volume will appeal to a non-specialist audience with its discussions of canonical films and treatment of themes popular within film studies programs such as cinema and ethics. But it will also attract academic specialists on Godard with its chapters on recent works, including Dans le noir du temps (2002) and Voyage(s) en utopie (2006), interventions in long-running academic debates (Godard, the Holocaust, and anti- Semitism), and treatment of rarely discussed areas of Godards work (choreographed movement).

The artistic impact of Jean-Luc Godard, whose career in cinema has spanned over fifty years and yielded a hundred or more discrete works in different media cannot be overestimated, not only on French and other world cinemas, but on fields as diverse as television, video art, gallery installation, philosophy, music, literature, and dance. The Legacies of Jean-Luc Godard marks an initial attempt to map the range and diversity of Godards impact across these different fields. It contains reassessments of key films like Vivre sa vie and Passion as well as considerations of Godards influence over directors like Christophe Honore. Contributors look at Godards relation to philosophy and influence over film philosophy through reference to Wittgenstein, Deleuze, and Cavell, and show how Godards work in cinema interacts with other arts, such as painting, music, and dance. They suggest that Godards late work makes important contributions to debates in memory and Holocaust Studies. The volume will appeal to a non-specialist audience with its discussions of canonical films and treatment of themes popular within film studies programs such as cinema and ethics. But it will also attract academic specialists on Godard with its chapters on recent works, including Dans le noir du temps (2002) and Voyage(s) en utopie (2006), interventions in long-running academic debates (Godard, the Holocaust, and anti- Semitism), and treatment of rarely discussed areas of Godards work (choreographed movement).