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Philosophers often find it useful to classify theories bearing upon a problem according to some typological scheme. In Five Types of Ethical Theory, C. D. Broad treats Spinoza, Butler, Hume, Kant, and Sidgwick not only as moral theorists but also as examples of basic approaches to the subject. In a final chapter Broad includes these and other theories, actual and possible, in a comprehensive classificatory scheme. Similarly Ogden, Richards, and Wood, in The Foundations of Aesthetics, advance a schematic outline of the principal approaches to aesthetics. Why such schemes are helpful is not hard to see. For one thing, they bring order to the otherwise unmanageable number of theories in fields such as ethics and aesthetics. In order to be useful, however, classification must also be accurate, and this means that a good typology of theories embodies a good deal of analysis. Before one says that two or more theories are fundamentally-not just apparently-similar or different in this or that respect, one must have penetrated to the base of the theory, to its generative premises and assumptions. One must also know intimately how the theory gets from these to its conclusions and applications, so as not to be misled by the latter. This analytical work, as well as the classification scheme which is its completion, are helpful, finally, in the criticism and evaluation of the theories themselves, thus preparing the way for new theoretical work.

Godard has developed a new camera style in his later period. Its prime element is a long, slow tracking shot that moves purely laterallyusually in one direction only (left to right or right to left), sometimes doubling back (left to right then right to left, right to left then left to right)-over a scene that does not itself move, or strictly speaking, that does not move in any relation to the camera's movement. Examples of this shot are the automobile trilogy or triptych: the backed-up highway of cars in Weekend, the wrecked cars piled up in One Plus One, and the auto assembly line in British Sounds; most of the studio scenes with the Stones in One Plus One; several of the guerilla scenes in Weekend ("I salute you, old ocean"); and the shot of the University of Nanterre and environs in La Chinoise. Before we consider

Godard on Godard1 contains 116 pieces written or spoken by Godard between June 1950 and August 1967. Items 1-85 comprise Godard's output as a film critic through July 1959. In August-September 1959, Godard dropped regular criticism and shot Breathless. He wrote about films after this, but much less frequently. The book collects 31 of these occasional pieces under the heading "Marginal Notes While Filming"-memorials, statements on his own films, defenses of neglected films, a speech, a protest letter, contributions to a dictionary of American film-makers, and four interviews. Among the latter are two long Cahiers interviews edited and revised by Godard himself, dated December 1962 (Breathless to Vivre Sa Vie) and October 1965 (Les Carabiniers to Pierrot le Fou). The following notes concern items 1-85, Godard's film criticism written before August 1959. The distribution of these pieces in time is interesting. Godard wrote 11 pieces between June 1950 and October 1952, then published nothing for almost four years. In August 1956 he returned to criticism and turned out 74 pieces in the three years before he made Breathless. His most productive period was the last six months, February-July 1959, in which he wrote 31 pieces. "Defense and Illustration of Classical Construction" (#9) was written in 1952, when Godard was 21. It is his longest theoretical piece and arguably his most important. It is a direct attack upon the Bazinian position, itself in process of formation at this time but settled in its main outlines. The specific object of Godard's critique is Bazin's account of classical construction ("decoupage") in cinema. According to Bazin, a standard mode of shot breakdown dominated world cinema during the 1930-1939 period. In the forties, the composition-in-depth technique of Welles and Wyler and Italian neorealism constituted a "revolution in expression." Their avoidance of editing effects and of frame manipulations was "a positive technique that produces better results than a classical breakdown of shots could ever have done." These