A filmmaker who has half a film history can divide the whole film history into "before Ge Daer" and "after Ge Daer", and this 423-page biography just bears the weight of half a film history. Godard is always shrouded in mystery in the eyes of fans and film professionals. Although his revolutionary subversion and destruction of traditional film language and his shocking free speech frequently appear in media and professional journals all over the world, there has never been a truly complete book introducing Godard's life and creation. As the first authoritative biography in English, the publication of Godard: A Portrait of a 70-year-old Artist just fills this gap. In the 1980s, Peter Biskind, then editor-in-chief of American Film, tried to persuade Colin mccabe, a famous British film and television cultural scholar and expert on Godard, to write a biography of Godard, but Colin mccabe was not interested. It was not until 1999 that Godard personally wrote a letter to Colin mccabe that he was confident to write a biography for a "living" film director. The author consulted a large number of documents and films and made an in-depth visit to Godard. Three years later, he finally finished the book in 2002. As a cinematographer's biography, "Godard: A Portrait of a 70-year-old Artist" adopts a mixed view, combs Godard's work and life in detail with a large number of first-hand materials, not only analyzes and criticizes Godard, a famous talented director in film history, but also gives him a comprehensive portrait from five aspects: family history, cultural influence, film creation, political inclination and personal anecdotes. Jean Luc Godard1930 was born in Paris on February 3rd, and was involved in the complicated relationship between his parents and two families since childhood. These two families also believe in Protestantism, which makes Protestantism deeply rooted in Godard's childhood, and he stubbornly reproduces the theological firmness of Calvinism in his future artistic choice. He studied anthropology at Gueudar University, and later dabbled extensively and was often active in film clubs, so he got to know Langlova, then the director of the French Film Archive, and Bazin and Truffaut, etc. in the editorial department of Film Handbook. After entering the film handbook, he published film reviews under the pseudonym of Hans Lucas. During the new wave period, Godard changed from a film critic to a film author, and made the film Tired, which had a groundbreaking influence on the film language. French director Pierre Melville praised Godard: "The new wave has no specific style. If the new wave does have a certain style, it is Godard's style. " After 1968' s "May Storm", Godard made a series of films with the theme of "War". Predicting the relationship between the political implication and the aesthetic concept in the movie Girl China coincides with his radical film activities at that time. Later, Godard bid farewell to the companions of the new wave, abandoned the traditional film mode and was keen on revolutionary image creation. His second wife anne wiazemsky and Jean-Pierre Golan, who founded the "dziga vertov Group", have always influenced Godard during this period. Since then, Godard's creative style has been constantly adjusted, showing diversified values. From 1989- 1998, he began a ten-year film history and wrote film works, which is also a summary of his personal thought history. He used Blair Sen's famous saying "Don't change, because everything is changing" in his film career as an annotation. In decades of film creation, Godard has been seriously thinking about and transforming his films with his unique film language. Godard's film revolution is first of all a wise use of film language, and Godard's "skipping" mentioned by film critics is a destructive subversion of traditional film narrative language; It also vividly predicted the turmoil and division of French political thought and world social pattern in 1968 "May Storm". His film narrative strategy is skillfully combined with film business. He believes that a woman's body, as a commodity exchange value, is a golden gun invested by post-modern society, which strongly impacts, splits and impacts the traditional intellectuals' imprisonment thought; The opposition between sound and image vividly reveals the separation of social appearance and essence, and accurately writes complex sociological poems in film language; The narrative language of Godard's representative film History is obscure, rich and unique, which not only embodies the philosophy of French classical knowledge, but also shows the fanatical pioneering spirit. It is not only a thorough challenge and revolution to the film history, but also a reflection and portrayal of human history! Beyond the time and space of images, Godard wrote the classic images of film anthropology with the historical data of world images, and deeply reflected and criticized human behavior itself. Repetition, overlapping, replacement, inversion, split images and detached explanations are the essence of the serious division of human personality since the 20th century. In the history of film, Godard seems to have become synonymous with French film. Some people say that the French pronunciation of his name is exactly the same as the French pronunciation of English "the art of God". However, in his Movie of God, fanatical passion and coldness coexist, philosophical reflection and confusion are in contradiction and conflict, anthropological reflection is full of opposition and separation, and the time and space of the image show the anxiety and qualitative change of post-modern society. Godard's image creation is developed in the form of popular culture, which shows the contradiction of modernism to the fullest, and explains the history of European modernism from one side. Langlois, the former director of the French Film Archive, believes that the whole film history can be divided into "before Godard" and "after Godard", and this 423-page biography just bears half the weight of film history. Published in China Reading Newspaper.