Home > Film Festival > 13th PLJFF > Films > All Power To Imagination > Cinétracts The Betrayed Square A Grin Without a Cat Cinétracts 1 2 1968 (90’) France Directors: Jean-Luc Godard, Chris Marker, Alain Resnais et al. The “Ciné-Tracts” was a political film project undertaken by Chris Marker with Jean-Luc Godard and Alain Resnais, as a means of taking direct revolutionary action during and after the events of May 1968. Each of the “Cinétracts” consists of 100 feet of 16mm black and white silent film shot at 24 FPS, equaling a projection-time of 2 minutes and 50 seconds. The films were made available for purchase at the production cost, which at the time was fifty francs. Original language: No dialogue Editor: SLON Producer: SLON Contact: ISKRA A: 18, rue H. Barbusse BP40024 94111 Arcueil Cedex T: 33 (0)141 240 220 W: iskra.fr E: firstname.lastname@example.org Jean-Luc Godard (1930, France) is undeniably the contemporary filmmaker whose thought and film work were the most influential on modern cinema and other artistic domains, arousing extensive and valuable theoretical and critical analysis to this day. He came to prominence with the New Wave group in France during the late 1950s and the ’60s. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema. Chris Marker (1921–2012) was a French writer, photographer, documentary film director, multimedia artist and film essayist. His best known films are „La Jetée“ (1962), „Le Joli Mai“ (1963), „A Grin Without a Cat“ (1977) and „Sans Soleil“ (1983). Marker is often associated with the Left Bank Cinema movement that occurred in the late 1950s and included such other filmmakers as Alain Resnais, Agnès Varda, Henri Colpi and Armand Gatti. Alain Resnais (1922–2014) was a French film director and screenwriter whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included “Night and Fog” (1956), an influential documentary about the Nazi concentration camps. His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives.