11,045 results
1967ref. 155298N.p.: N.p. 1967. Vintage reference photograph from the 1967 French film directed by Jean-Luc Godard showing actors Raoul Lévy and Anny Duperey. From the archive of film historian and author Joel Finler. A day in the life of a seemingly normal suburban housewife who intersperses her daily routine of housework cleaning and shopping with appointments as a call girl. One of director Godard's most highly regarded and stylistically innovative films released the same year as "Weekend" and "La chinoise." Set and shot on location in Paris. 10 x 8 inches. Near Fine. Criterion Collection 482. Rosenbaum 1000. Vogel Film as a Subversive Art. N.p. unknown books
1962ref. 144425Paris: Les Films de la Pleiade 1962. Four vintage borderless photographs from the 1962 film. With manuscript annotations and rubber stamps on the versos. Based in part on the nonfiction study "Ou en est la prostitution" by Marcel Sacotte who also contributed to the screenplay. Godard's least "intellectual" film is also one of his finest a touching drama about a college-educated woman who drifts into prostitution out of boredom with the working world to tragic consequences. The third of the seven highly influential films directed by Godard between 1960 and 1965 starring his then-wife and muse Anna Karina. Shot on location in Paris. 5 x 7 inches. Near Fine. BFI 2055. Criterion Collection 512. Ebert I. Les Films de la Pleiade unknown books
1964ref. 164256N.p.: N.p. 1964. Five vintage borderless reference photographs from the 1964 film including one of director Jean-Luc Godard pushing longtime cinematographer Raoul Cotard seated in a wheelchair on the set. Layout annotations in ink and pencil on the versos and one with a Télérama stamp. Godard used a cameraman seated in a wheelchair instead of a camera dolly in several films including "Breathless" 1959. During a period of romantic tumult a woman discovers she is pregnant with two possible fathers. After premiering at the Venice Film Festival the film was briefly banned in France for its scandalous depiction of infidelity and was only passed by the censors after forcing Godard to make several small changes including changing the film's title from "The Married Woman" to the slightly less inflammatory "A Married Woman." Four photographs 7.25 x 9.5 inches one photograph 5 x 7 inches. Very Good plus to Near Fine. Masters of Cinema 80. N.p. unknown books
1965ref. 143249Neuilly-sur-Seine France: Societe Nouvelle de Cinematographie SNC 1965. Collection of 16 vintage lobby cards for the French release of the 1965 film. The set is housed in its original titled brown paper envelope from the film's distributor Societe Nouvelle de Cinematographie SNC. Based on the 1962 novel "Obsession" by Lionel White about a unhappily married man who goes on a traveling crime spree with an ex-girlfriend who herself is being pursued by right wing paramilitary hit men. 9.5 x 12 inches. Fine. Criterion Collection 421. Godard Histoires de cinema. Societe Nouvelle de Cinematographie [SNC] unknown books
1965ref. 168104N.p.: N.p. 1965. Vintage borderless oversize reference photograph from the 1965 French film showing a scene with Anna Karina perched in a 1961 Ford Galaxie Sunliner on a lift with director Jean-Luc Godard looking on in the foreground. Stamp of photographer Georges Dudognon on the verso. Based on the 1962 novel "Obsession" by Lionel White about an unhappily married man who goes on a traveling crime spree with an ex-girlfriend who herself is being pursued by right wing paramilitary hit men. Shot on location throughout France. 9.25 x 11.75 inches. Near Fine. Criterion Collection 421. Godard Histoires du cinema. N.p. unknown books
1969ref. 149696London: Institute of Contemporary Arts 1969. Two vintage double weight reference photographs from the 1969 French film. With printed mimeo snipes for the film's British release affixed to the verso. A man and a woman meet to discuss the Vietnam War student protests the changing relationship between the US and France and other current events of the 1960s interspersed with news clips music and narration by director Jean-Luc Godard. 8.5 x 6.5 inches. Near Fine. Institute of Contemporary Arts unknown books
1964ref. 142630France: Ulysse Productions 1964. Vintage borderless photograph of a playful Jean Seberg pointing her prop camera back at the real one on the set of the 1964 film. With the stamp of production company Ulysse Productions and manuscript annotations on the verso. An anthology film featuring five stories about swindlers around the world with Seberg appearing as a journalist accused of passing fake currency who then tracks down and interviews the counterfeiter in the segment "Le grand escroc" "The Great Swindler" directed by Jean-Luc Godard. Other segments were directed by Claude Chabrol Ugo Gregoretti Hiromichi Horikawa and Roman Polanski. 9.5 x 7 inches. Near Fine. Olive Films 1339. Ulysse Productions unknown books
1965ref. 149515France: Athos Films / Chaumiane / Filmstudio 1965. Vintage borderless reference photograph from the 1965 French film. With the stamp of still photographer Georges Pierre on the verso. Jean-Luc Godard's neo-noir foray into science fiction following a secret agent in a dystopian future who is assigned to kill the machine intelligence that rules over a fascist state. Shot on location in Paris. 10 x 8 inches. Near Fine. Criterion Collection 25. Rosenbaum 1000. Grant US. Godard Histoires du cinema. Athos Films / Chaumiane / Filmstudio unknown books
1965ref. 151996N.p.: Andre Michelin Productions 1965. Vintage borderless reference photograph of Eddie Constantine as Lemmy Caution in bed armed and reading a French translation of Raymond Chandler's "The Big Sleep" from the 1965 film. Printed snipe and provenance stamp of "G. Toussier" on verso. Jean-Luc Godard's neo-noir foray into science fiction transplanting the fictional detective Lemmy Caution Constantine into a dystopian future assigned to kill the machine intelligence that rules over a fascist state where emotion is outlawed. 9.5 x 7.25 inches. Very light edgewear to the corners else Near Fine. Criterion Collection 25. Godard Histoires du Cinema. Grant France. Rosenbaum 1000. Andre Michelin Productions unknown books
1965ref. 135614Neuilly-sur-Seine France: Societe Nouvelle de Cinematographie SNC 1965. Vintage oversize double weight photograph of director Jean-Luc Godard behind the camera on the set of the 1965 film. Shot by photographer Georges Dudognon in the summer of 1965 with his stamp on the verso. In a custom museum-quality frame archivally mounted with UV glass. 9 x 12 inches. Near Fine. Criterion Collection 421. Godard Histoires de cinema. Societe Nouvelle de Cinematographie [SNC] unknown books
1968ref. 148283N.p.: Athos Films 1968. Two vintage French color lobby cards from the 1968 film one with a stamp reading "P. Valadier" on the verso. Loosely based on the 1871 novel "Demons" by Fyodor Dostoyevsky. Godard's wry improvisational take on politics of the late 1960s follows five disaffected students studying the teachings of Mao Zedong and debating the use of terrorism to achieve revolution. Set in and shot on location in Paris. 11.75 x 9.5 inches. Very Good plus with pinholes at corners and edgewear. Rosenbaum 1000. Athos Films unknown books
1961ref. 138215Paris: N.p. 1961. Vintage black-and-white borderless still photograph of Godard and Macha Meril on the set of the 1961 film. With the Paris stamp of photographer Claude Schwartz on the verso. 9 x 6 inches. Near Fine. Criterion Collection 238. N.p. unknown books
1967ref. 148302N.p.: Anouchka Films 1967. Collection of 17 vintage French color lobby cards from the 1967 film 15 with "CFDC - LYON" stamp on the versos. One of three feature films Godard released in 1967 and like both "Weekend" and "La chinoise" one that showcases Godard's increasing focus on filmic deconstruction as well as vocalization of leftist political ideas. Godard has stated that his overall desire with the film was "to include everything: sports politics even groceries" to make "an attempt at description of a phenomenon known. as a complex." 8 x 10 inches. Very Good plus with pinholes to corners light to moderate wear and a couple of small dampstains. Criterion Collection 482. Rosenbaum 1000. Vogel Film as a Subversive Art. Anouchka Films unknown books
1967ref. 138581Paris: Concordia Compagnia Cinematografica 1967. Four vintage borderless reference photographs from the set of the 1967 film. Studio rubber stamp on the verso. One of the photos features Marina Vlady sharing a cigarette with Roger Montsoret. Based on a 1966 article on casual prostitution in France by Catherine Viminet. One of three feature films Godard released in 1967 and like both "Week End" and "La chinoise" one that showcases Godard's increasing focus on deconstructing filmic narrative and structure and vocalization of leftist political ideas. Godard has stated that his overall desire with the film was "to include everything: sports politics even groceries" to make "an attempt at description of a phenomenon known. as a complex." 5 x 7 inches. Fine condition. Criterion Collection 482. Rosenbaum 1000. Vogel Film as a Subversive Art. Concordia Compagnia Cinematografica unknown books
1968ref. 167788New York: Grove Press Film Division 1968. Vintage press kit for US release of the French 1967 film. Pocketed black and white illustrated folder with gold stamp contains an illustrated bi-fold of "Notes and Background" and a Jean-Luc Godard bio and a tri-fold of advertising materials. One of Godard's most misanthropic films about a loveless bourgeois couple who fantasize about killing each other while on a long road trip to visit the woman's parents with the intent of securing an inheritance. Shot on location in Ile de France and Paris. Folder and contents Near Fine. Criterion Collection 635. Godard Histoires du cinema. Rosenbaum 1000. Vogel Film as a Subversive Art. Grove Press [Film Division] unknown books
1967ref. 152866N.p.: N.p. 1967. Vintage borderless reference photograph of director Jean-Luc Godard pulling actress Mireille Darc's hair on the set of the 1967 film. With the stamp of still photographer and actress Anne Wiazemsky on the verso. One of Godard's most misanthropic films about a loveless bourgeois couple who fantasize about killing each other while on a long road trip to visit the woman's parents with the intent of securing an inheritance. Shot on location in Ile de France and Paris. 9.25 x 6.75 inches. Light creasing to the bottom left corner else Near Fine. Criterion Collection 635. Rosenbaum 1000. Godard Histoires du cinema. Vogel Film as a Subversive Art. N.p. unknown books
1967ref. 168470N.p.: N.p. 1967. Two vintage borderless reference photographs showing a car accident sequence from the 1967 film one showing director Jean-Luc Godard looking back at the camera smiling wryly as plumes of smoke rise in the background. Layout annotations in manuscript ink and pencil on the versos. One of Godard's most misanthropic films about a loveless bourgeois couple who fantasize about killing each other while on a long road trip to visit the woman's parents with the intent of securing an inheritance. Shot on location in Ile de France and Paris. 6.75 x 5 inches. Near Fine. Criterion Collection 635. Rosenbaum 1000. Godard Histoires du cinema. Vogel Film as a Subversive Art. N.p. unknown books
1962ref. 163800N.p.: N.p. 1962. Two vintage borderless oversize reference photographs from the 1962 film both showing actress Anna Karina. Annotations in manuscript pencil and ink on the versos. Director Jean-Luc Godard's least "intellectual" film and also one of his finest a drama about a well-educated Parisian woman who drifts into prostitution out of boredom with the working world. The third of seven influential films between 1960 and 1965 directed by Godard and starring his then-wife and muse Anna Karina. Shot on location in Paris. 11.75 x 9.5 inches. Very Good moderately edgeworn. BFI 2055. Criterion Collection 512. Ebert I. N.p. unknown books
1985ref. 149448France: JLG Films 1985. Vintage black-and-white borderless reference photograph of director Jean-Luc Godard and actors Claude Brasseur Nathalie Baye and Johnny Hallyday playing pool on the set of the 1985 film. Two detectives staying at a Parisian hotel investigate a murder which occurred two years prior. Released the same year as Godard's highly and pointlessly controversial film "Je Vous Salue Marie." Shot on location in Paris. 9.5 x 7 inches. Near Fine. Godard Histoires du cinema. Carlson and Connolly Destroy All Movies. JLG Films unknown books
1986ref. 150041Paris: Interpress 1986. Vintage borderless reference photograph of Marushka Detmers from the 1983 film. Later printed French Interpress announcement with typos on verso. Loosely based on Georges Bizet's 1875 opera. A young woman involved in a terrorist gang is embroiled in a plan to rob a bank but her plans are waylaid when she falls for the security guard. Set and shot on location in Paris. 7 x 5 inches. Near Fine. Godard Histoires du Cinema. Interpress unknown books
1986ref. 154238Paris: Interpress 1986. Vintage borderless reference photograph of Marushka Detmers and director Jean-Luc Godard on the set of the 1983 film. Loosely based on Georges Bizet's 1875 opera. A young woman involved in a terrorist gang is embroiled in a plan to rob a bank but her plans are waylaid when she falls for the security guard. Set and shot on location in Paris. 7 x 5 inches. Near Fine. Godard Histoires du Cinema. Interpress unknown books
1964ref. 151743N.p.: N.p. 1964. Vintage borderless reference photograph from the 1964 film. Based on Dolores Hitchens' 1958 novel "Fools' Gold." A young woman convinces two men to help her steal a large stash of money from her aunt. An outrageous and comical crime film and a classic of French New Wave cinema later described by director Jean-Luc Godard as "'Alice in Wonderland' meets Franz Kafka." Shot on location in Paris. 9.5 x 7.25 inches. Near Fine. BFI 549. Criterion Collection 174. Godard Histoires du cinema. Grant France. Rosenbaum 1000. Spicer France. N.p. unknown books
1964ref. 153077N.p.: N.p. 1964. Two vintage borderless reference photographs from the 1964 French film both showing director Jean-Luc Godard sitting with a camera in the open trunk of a convertible. Based on Dolores Hitchens' 1958 novel "Fools' Gold." A young woman convinces two men to help her steal a large stash of money from her aunt. An outrageous and comical crime film and a classic of French New Wave cinema later described by director Jean-Luc Godard as "'Alice in Wonderland' meets Franz Kafka." Shot on location in Paris. 9.5 x 7.25 inches with wide bottom margins. Near Fine. BFI 549. Criterion Collection 174. Godard Histoires du cinema. Grant France. Rosenbaum 1000. Spicer France. N.p. unknown books
1980ref. 149979N.p.: N.p. 1980. Vintage borderless reference photograph of Jean-Luc Goddard and crew on the set of the 1980 film. "Sauve qui peut / la Vie" stamp on verso with last three lines of stamp which include copyright date and photograph credit for Anne-Marie Mieville struck through with manuscript marker. A most Godardian examination of sexual relationships in which three protagonists interact in different combinations. Nominated for the Palme d'Or. Shot on location in Switzerland. 9.5 x 7 inches. Near Fine. Criterion Collection 744. Godard Histoires du cinema. N.p. unknown books
1964ref. 167663N.p.: N.p. 1964. Five vintage borderless reference photographs from the 1964 French film including two showing director Jean-Luc Godard with a camera on the set. One with a French release stamp on the verso and all with annotations in manuscript ink and pencil on the same. Based on Dolores Hitchens' 1958 novel "Fools' Gold." A young woman convinces two men to help her steal a large stash of money from her aunt. An outrageous and comical crime film and a classic of French New Wave cinema later described by Godard as "'Alice in Wonderland' meets Franz Kafka." Shot on location in Paris. Photographs range in size from 9.5 x 7 inches to 7 x 5 inches. Generally Near Fine. Grant France. Spicer France. BFI 549. Criterion Collection 174. Godard Histoires du cinema. Rosenbaum 1000. N.p. unknown books
