And “Do you believe in the soul of a people? " asks Jouffroy.“I can’t express it that way because it sounds a bit too big, but it is a bit that.” 1 Latin Graphics and Right-wing HeritageĪt the crossroads of complex ramifications, his recurring reference to France extends in particular to typography. In an interview with Alain Jouffroy in 1966, Godard explicitly summarized his use of blue-white-red and the significance he intended to give it: “I believe a little in nationalism, but in a nationalism of poetry, not at all political: I like that Delacroix is French and Beethoven is German…”. Antique Olive period or the era of blue-white-red typography How to print a thought in movement and free oneself from the fixation of the text on the page? How to make a book while making a film? Typography is the privileged visual mediation through which Godard tries to put an end to the competition between text and image in the production of thought.įrom left to right, blue-white-red cards of the films “Deux ou trois choses que je sais d’elle” (“Two or Three Things I Know About Her”, 1966) “La Chinoise” (“The Chinese”, 1967) and "Week-end" (1967), composed in Antique Olive.įirst phase. If the primary function of typography is to show the text, Godard’s underlying question, whatever the medium (video, paper or film), is a painter's preoccupation: How to represent thought and what colour (political and pictorial) to give it. Godard uses them in his last two works to date, Adieu au langage (“Farewell to Language”, 2014) and Le Livre d’image (“The Picture Book”, 2018). The third phase is distinguished by the use of so-called screen fonts (Tahoma or Verdana) designed by Matthew Carter. Three stages emerge through his filmography, marked by the use of a unique typography, whose subtle choice indicates significant aesthetic and political stakes.įor the first two phases it is about the very French Antique Olive, designed by Roger Excoffon between 19, which was followed by the symbol of Swiss typography, Helvetica, from the 1980s to 2010. A particular facet of his graphic work concerns the use he makes of type fonts. Layout design, and in particular typography, is for him the privileged means of experiencing at every opportunity the paradoxical relationships of text and image. If Jean-Luc Godard is the cinema itself, he is also heir to the printed page. Lire cet article dans sa version originale française.
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