The Radical Faces of Godard and Bertolucci Book

	Acknowledgments	9
	Introduction: Anxiety of Influence/Celebration of Influence	13
Ch. 1	The Radical Period of Godard: 1968-1978	23
	The Influence of May 1968	24
	From Le Gai Savoir to the Films of the Dziga Vertov Group	27
	The Intermediate Stage: Tout va bien	32
	A New Turn: The Collaboration with Mieville	49
Ch. 2	The Radical Period of Bertolucci: 1968-1976	54
	The Politicization of Memory: From Partner to The Conformist	56
	The Politicization of the Love Story: Eros and Civilization Revisited in Last Tango in Paris	68
	Politicization of Politics: 1900	80
Ch. 3	Dialogue with the Cosmos: The Films after the Revolution	82
	The "Spiralling Negativity" of the Terrorist Game: Bertolucci's Tragedy of a Ridiculous Man	84
	The Transition to the Cosmic Period: Godard's "Trilogy of the Sublime"	88
Ch. 4	The Quest for the Other: Bertolucci's The Last Emperor and The Sheltering Sky	100
	The Last Emperor	100
	The Sheltering Sky	118
Ch. 5	From Metapornography to Meta-heresy: Godard's Images of Sexuality	135
	"The Last Romantic Couple": Images of Women in Godard's New Wave Period	138
	The Beginning of the Radical Period	144
	The Radical Period	146
	The "Mieville Period"	148
	Images of Women in the Cosmic Period	155
	Woman as Consumer Woman as Commodity	159
	Woman as Prostitute	160
	Anality	165
	Incest and Pedophilia	167
	Interview	167
Ch. 6	The Spider's Sexual Stratagem: Bertolucci's Poetics and Politics of Sexual Indeterminacy	174
	Sexual Indeterminacy and the Promise of Sexual Liberation	178
	Women and the Critique of the Bourgeoisie	183
	Spider Women	187
	Metaphors of Sexual Repression/Political Oppression	188
	Ethno-Porno: From "Mama China" to "Mama Africa"	189
	Conclusion: Past and Future Utopias	200
	Notes	207
	Bibliography	251
	Filmography	265
	Index	275