I have chosen six titles on which to focus here for the years 2013–14: two significant works on Jean-Luc Godard’s later films—Late Godard and the Possibilities of Cinema by Daniel Morgan (UCalP [2013]) and Jean-Luc Godard: Cinema Historian by Michael Witt (IndianaUP [2013]); D.N. Rodowick’s genealogy of contemporary film theory, Elegy for Theory (HarvardUP [2014]); Sarah Cooper’s investigation of the term ‘soul’ and its relation to cinema in The Soul of Film Theory (Palgrave [2013]); Adrian Martin’s journey through film technique and interpretation in Mise en Scène and Film Style: From Classical Hollywood to New Media Art (Palgrave [2014]); and finally Kristen Whissel’s attempt to theorize contemporary Hollywood in Spectacular Digital Effects: CGI and Contemporary Cinema (DukeUP [2014]). The chapter is divided into five sections: 1. Late and Historical Godards; 2. Elegy for Theory; 3. The Soul of Film Theory; 4. Mise en Scène and Film Style; 5. Spectacular Digital Effects.