Cinema=Godard=Cinema

Doctoral Dissertations
2012
Deadly Deviations, Subversive Cinema: The Influence of Hollywood Film Noir on the French New Wave, by James Rowlins

2010
Exploring Lived Cinematic Moments in Italian Neorealism and the French Nouvelle Vague, by Glen W. Norton

Before Our Eyes: Les Mots, Non Les Choses. Jean-Luc Godard’s Ici et ailleurs (1970-1974) and Notre musique (2004), by Irmgard Emmelhainz

2007
Radical Form, Political Intent: Delineating Countercinemas Beyond Godard, by Robert Patrick Kinsman

Jean-Luc Godard: The Evolution of a Radical, by Amruta Satish Kulkarni

Self-Staging Auteurs in Search of a Cinema: Jean-Luc Godard, Woody Allen and Eduardo Coutinho, by Cecilia Sayad

2006
Textualizing the Future: Godard, Rochefort, Beckett and Dystopian Discourse, by Julie Anne Monty

2005
Marginal Pleasure and Auteurist Cinema: The Sexual Politics of Robert Bresson, Jean-Luc Godard, Catherine Breillat and François Ozon, by Thibaut Schilt

2004
Reification and Visual Fascination in Flaubert, Zola, Perec and Godard, by Brian E Daniels

2002
Jean-Luc Godard and the Other History of Cinema, by Douglas Morrey

1998
On Communication: The Work of Anne-Marie Mieville and Jean-Luc Godard as ‘SonImmage’ from 1973-1979, by Michael Witt

Theses
2019
The Past is Never Dead: Amorphous Time in Jean-Luc Godard’s Notre Musique, by Anthony E. Dominguez

2011
The Role(s) of the Intellectual in the Films of Godard, by Tyson Stewart

In Search of an Emancipated Pedagogy Through a De-Centered Montage, by Pedro Juan Vidal

Displacing the House of Being: The Politics of Parody in the Cinema of Jean-Luc Godard, 1960-1968, by Dominick DeJoy

Visions of 1968: Radical Aesthetics in Porcile, WR and Tout va bien, by Katarina Mihailović

2007
Alienation in Jean-Luc Godard’s Tout Va Bien (1972), by Anna Alich

2001
Origine et fin: Méthode(s). À partir et autour des Histoire(s) du cinéma de Jean-Luc Godard, by André Habib

2000
The Depiction of late 1960’s Counter Culture in the 1968 films of Jean-Luc Godard, by Gary Elshaw

1999
The Gift Reciprocated: Critical Theory and Jean-Luc Godard’s Philosophy of the Image, by Glen W. Norton