Analysis of Jean-Luc Godard

abbreviation of Jean-Luc GodardThe auteur supposition nates be summarised a rhythm simply as an quote of the manager as the primary and shaping force john a call for (Craig Keller). How is Godards primary and shaping set detect suitable, if indeed, it is?IntroductionThe auteur theory was a principle developed in the 1950s by a group of French postulate critics namely Eric Rohmer, Francois Truffaut and Jean-Luc Godard. It was their belief that an auteur was the single various(prenominal) most responsible for whatever private pression (if any) a pic yielded up under critical analysis. This definition has ferment the most universally understood of the auteur theory and thusly the peerless which will be referred to during this utterance.These critics wanted to see an end to la tradition de la qualit of schematic motion picture of the 1930s and 1940s a period coined le cinma de papa. They grapplewed charges produced at that time to be literary, lifeless and non g enuinely cinematic. Inspired by fellow film critic Alexandre Astrucs photographic camera-stylo theory arguing that filmmakers should make utilisation of their equipment as spontaneously, flexibly and personally as a salvager uses a pen these young critics began to break the constraints of constituted cinema.Prior to the nurture of the auteur theory, a large majority of films were produced, snap and modify in similar hyphens. Large studios, with fixed cameras and scriptwriters having overall control were common, and so creating a rigid stylus of film fruit. However, in the 1950s and 60s, a period labelled the Nouvelle bleak, French cinema was completely revolutionised.During this time films move extraneous from the confines of the big studios and artificial unmortgageding to revealside, exploitation light weight Arriflex cameras which sped up the film process. During this period directors began to experiment with several bleak cinematic techniques whilst implement ing their own personal artistic values in films. These directors came to be known as auteurs becoming the primary and shaping force stool their films, manipulating sidets to fit their course rather than employing the conventional method of following scriptwriters prompts.In terms of the auteur theory Jean-Luc Godard was seen as the truly radical auteur. By most he is today seen as nonpargonil of the most forward-looking and artistic directors having created his own Godard style. As Godard himself conjure ups, les vrais auteurs des films sont les producteursle cinema na davenir que si la camera finit comp atomic number 18 remplacer le stylo. Godard epitomises a director out to challenge traditional cinema. finished with(predicate) with(predicate) such films as Vivre sa Vie Film en douze tableaux (1962) and Une femme est une femme he began to interrogate and illuminate conventional cinema via new cinematic and artistic techniques.This dissertation will assess the extent to which Jean-Luc Godards primary and shaping make up superstars mind is detectable in his films. In the main body of this dissertation I will allot Godards ability to implement his own cinematic style by means of several inventive techniques. I will consider his ability to challenge the barriers between off cloak and on screen solidity.Furtherto a greater extent, I will analyse his use of camera shots, transfer techniques, distort in and sullen so as to demonstrate his pivotal influence on the shaping of his films. I will however, withal argue that any harming of definition of the auteur theory oversimplifies the realities of a film making process and can therefore not be seen as a definitive theory.Andrew Sarris explains, one of the premises for an auteur is that the director must exhibit received recurring voiceistics of style which serve as his signatureover a group of his films. I will, therefore, make reference to four of Godards films A bout de Souffle (1960), Une femme est une femme (1961), Vivre sa vie Film en douze tableaux (1962) and Le Mepris (1963) to demonstrate how Godard yields personal influence in his films.One of Godards premises as a film director was his belief that reality was a pivotal part of film making. Godard reckond that naive realism attempted by conventional cinema was never exactly the equal as reality, and in cinema it is of necessity faked. It was therefore Godards target to continually experiment with new beliefs and make his actors improvise in certain photographs in order to encapsulate what he believed would be the closest engagement to real life.Following the release of A turning de Souffle actor Jean-Pierre Melville who contend Parvulesco in the film verbalise Godards movie was anything shot leastwise. Godard himself confirmed that on A Bout de Souffle I use to write the evening before shooting. According to Godard, the reason for him doing this was because I like to be surprised. If you know in advance e trulything you are going to do, it isnt worth doing. If a show is all written follow up, what is the even of film it? What use is cinema if it trails after(prenominal) literature? Godards obsessive need to excogitate the smallest minutiae made him standout amongst his peers by firmly embedding him as the autonomous force canful all aspects of the film making process.In addition, if one reads the script of Le Mpris it kick the bucketly shows his belief in improvisation to encapsulate real life. In the thirty minute apartment scene in which Camille and capital of Minnesota argue, the only direction is man in hat. Man in towel. nordic woman. Woman in black wig. Sheets on coach. Sheets off couch. Dishes on table. Love. Anger. Contempt. Tenderness. This therefore forced the actors to improvise in the hope that the scene would be more than realistic than honourable learning their lines by interprett.This idea of filmmaking was revolutionary at the time and was a wa y in which Godard was implementing his own directional style to his movies. As Kreidel suggested in 1980 No one has yet made a more modern cinema than Godard. For those familiar with Godards work the quote utilise above anything shot anyhow should strike a chord. His use of the camera to manipulate scenes to exert his own artistic influence over his movies was just one of the ways in which his primary influence was detectable.Godard utilise a range of new cinematic techniques in an attempt to escape the continent idea of a supine audience. His work was heavily influenced by Bertolt Brechts theory of Brechtian distanciation which encouraged the audience to make their own interpretations of what they were experiencing rather than them organism simply led through a piece of theatre.Godard was influenced by Brechts theory in encouraging the active engagement of his audience, he breaks the whoremaster of the fourth wall in order to communicate directly with the audience, usually in such an enigmatic way that he seems to be satirising the altogether of communication. In a key scene in A Bout de Souffle Michel, one of the lead protagonists, is filmed having a conversation with himself whilst private road. traditionally this type of scene would be shot using a fly ball on the wall technique, Godard instead, by making Michel talk directly at the camera, creates the impression that Michel is directing his voice communication at the audience.Manipulating the camera lens to involve the audience was just one of the techniques that Godard employed. In the opening scene in Vivre sa Vie he utilises a very varied technique alienation. kinda than filming this scene in the traditional head-on format Godard places the camera lens behind the lead characters heads. In doing so the audience feels estranged from the conversation between the characters Nana and Raoul especially as their reflection in the reflect distances themselves even more from the audience.In additio n, Godard never films the two characters in the equivalent shot which not only highlights the divide between the characters but also the audience from the characters conversation. As Godard himself suggests I also converge with the theatre through terminology in my film one must listen to mass speaking, particularly as their backs are often turned so that one is not distracted by their faces. By shooting this scene from behind Godard does just that. He forces the audience to interpret the scene through what they catch and not what they see. By exploiting these techniques Godard is undoubtedly heavily exerting his influence on these films as an auteur.Godards use of the camera to exert a primary influence on his work often manifests itself in less obvious ways. He frequently extends the length of a single shot or slows down his camera movements to provide the attestor with adequate time to concentrate on a specific image. In Le Mpris Godard is forced to do a slow panning shot in one of the final scenes of the film when Odysseus returns home to Ithica.Godards use of garble is so bold in this scene that if he quickly panned across the scene it would not elapse his viewers adequate time to concentrate on the composition of the color ins. The scene is filmed in such a way that it adds to its artistic content. In much the same way as a writers style of writing changes or a painters brush strokes alter throughout their career, Godards style evolves throughout his films. He employs different techniques in apiece film but the one constant is his shaping influence on each of his works.In conventional cinema, colour was generally utilise in order to increase the commerciality of films. When it was occasionally used, it enhanced the mood in die scenes. Godard employed a far more ambitious use of colour in his work. In his first two colour films Une femme est une femme and Le Mpris he predominantly used primary colors due to his kindle in modern art straight co lor, pop art. Godard used bold primary colours to indicate the characterisation and narrative development in his films but in such a way that it did not act upon the viewer in a directly sensual way.In Godards first colour film Une femme est une femme, Angela is intent on having a child with her husband Emile. Emile however, is not so keen on the idea and shape ups rather blas about the subject he predominantly wears blue in the film which symbolises his rather laid back nature. after being repeatedly refused by Emile on the topic of having a baby, Angela goes to Emiles friend Albert to come on an affair in the hope to conceive. Albert despite being happy to hold in feels no real affection for Angela and this is shown as he mainly wears colorise symbolising his disinterest in her.In Godards second colour film Le Mpris, he continues the pattern of using colour to represent characters personalities but tends to also use colour to depict how characters emotions towards each or so other evolve throughout the movie. In the opening scene, Camille is lying in bed with capital of Minnesota asking him if he loves different parts of her body. In this scene, Godard uses colour filters which are seen as a representative of what is going to make it in the film. If one considers that red symbolises love, white incertitude and blue coldness then it maps out what happens in the film, love to ambivalence to contempt.Furthermore, Godard manipulates colour to mirror personalities. Paul the scriptwriter in the film is seen in a grey vitrine with blue specks highlighting his passive temperament. Jerry the ambitious American film maker is mostly seen in a blue suit, red tie and driving a red sports car which in turn suggests his dominant personality and his lust for Camille. In addition, Camille is shown in several coloured dresses throughout the film so as to emphasize her continual change of emotions. Finally Francesca, Jerrys secretary wears a red jumper in the scen e when she seduces Paul which again emphasizes Godards attempt to symbolise emotional currents in the film.It is definitive to note that several critics have suggested that Godards use of primary colours can also be seen as a referent to American musicals, a genre which fascinated Godard. This referent is most evidently seen in the opening credits of Une femme est une femme when bold colourful words flash up on the screen like neon lights, reflecting the lavishness of the American musical. Furthermore, other critics suggest that the primary colours are a referent to any the French flag or American flag. The extensive analysis of these critics suggests that they themselves certify Godard as fulfilling a decisive role in the production of his films.One of Godards most revolutionary impacts on French cinema was his use of editing. Prior to the Nouvelle Vague, directors were focused on attempting to reduce the awareness of the film making process for the audience enhancing what dire ctors felt was reality. They would therefore use techniques such as continuity editing which prevented the audience from being aware of any have it offs in between scenes, enabling them to be swept up in the film.Godard however, had a strong belief about the basics of cinema in which mise en scne (the content of individual shots) is continually inflected, articulated and alter by montage (the editing that drives a film from one shot to another. With this strong belief Godard began to edit using techniques such as the jump-cut. The jump-cut was employed by Godard in his first motion picture A bout de Souffle. Due to a need to reduce the length of the film, Godard systematically cut out whatever could be cut, while trying to maintain some rhythm.An example of his use of jump-cuts was in the scene when Michel, the criminal, is recognised by a jurisprudence officer and therefore Michel decides to shoot him. In this scene Godard zooms in on the barrel of the gun which is about to be laid-off by Michel. Suddenly, when Michel fires the gun there is a jump-cut and the next image is the police officer falling to the ground having been hit. Another notable example of his use of jump cut came later in the film when Patricia is riding in a stolen convertible with Michel.In this scene there are up to seven jump-cuts of Patricias head, creating discontinuity in the scene in a very clear Godard style. Whilst many critics at the time found his use of jump-cut puzzling and disruptive to the flow of the film many others recognized his jagged restless montage heightened the jagged, unruly mood of a story propelled more by the whims of his characters than the dictates of a predetermined story, which is something evident in his film A bout de Souffle. As has been demonstrated it is clear that Godard exerted considerable influence over the editing process.It is clear that Godards films are characterised by a set of rhetorical methods. Principally amongst these methods is his use of vowelise. Prior to the Nouvelle Vague, kick the bucket was employed in film to replicate audibly the visual emotion of a scene in order to captivate the audience and make a scene appear more realistic. Martin Heidegger highlights this tradition by suggesting that viewers have become accustomed to sounds elegant effects and thus treats them as real.Godard however, firmly believed that in faking sound to captivate the audience, one is taking away the realism that he wanted to convey in his films. A point agreed by Richard Roud who suggested that even in the most so-called realist film, sound has always been an exception. It was therefore Godards intention to restore sound so that it would captivate real life by refusing to edit or remix any previously recorded track, which he defined as sonic realism. One of Godards most notable examples of this was seen in A Bout de Souffle.Due to the sound being naturally recorded there are several scenes in the film when some of the chara cters conversations are muffled by natural noises. The use of natural sound reaches a peak during the scene in Patricias apartment when the noise of the sirens holloa in through the open window actually drowns out the characters dialogue. Rather than being a distraction that takes the viewer out of the moment, the use of natural sound here, and throughout the film, only heighten the realism.After all, in life, it would be unrealistic to sit in a agency with an open window in the centre of Paris and not hear any intrusive sounds. Jean Collet praises Godards creation of realism through sound stating Godard applies to sound the same demands as for the pictures. He captures life in what it offers to be seen-and to be heard-directly.Godards artistic use of sound did change in his career with the development of post-synchronised sound. Prior to the Nouvelle Vague, direct sound was used in films such as A Bout de Souffle. However, with the development of post-synchronised sound Godard wa s able to talk to the actors whilst filming so as to direct them and after synchronise the sound with the film footage. This also enabled him to implement his artistic Brechtian style of filmmaking in which he alienated his audience.In the opening scene in Vivre sa Vie, Godard uses the soundtrack in ten to twenty second bursts. The scene shows shots of Anna Karinas face at different angles. In conventional cinema, music would generally play consistently throughout this scene to highlight the emotional state. Godard however, plays it in bursts creating discontinuity in the scene as the soundtrack stops at random intervals.As has been demonstrated, Goddard employs a wealth of techniques in his films to manipulate sound. In playing such a pivotal role, he firmly entrenches himself as the key player in his work. Rarely before had cinema seen someone wield such a crucial influence over all aspects of the film making process. second base SectionIt is undeniable that Godard has produced so me of the most inspiring and innovative films through his use of story line and cinematic techniques. His exploitation of light, colour, and sound, editing and change the audience showed Godard had revolutionised traditional French cinema and in doing so has excite modern day film directors such as Quentin Tarrantino.However, in using Kellers summary that an auteur is simply the primary and shaping force of his films it is decidedly oversimplifying the realities of the film making process. As Godard changed so much in his films compared to traditional cinema it is not possible for him to be praised for every aspect of his films creation. Godard said in an interview in 1983I find it useless to keep offering the public the auteur. In Venice, when I got the prize of the Golden social lion I said that I deserve only probably the head of hair of this lion, and maybe the tail. Everything in the middle should go to all the others who work on the picture the paws to the director of phot ography, theface to the editor, the body to the actors. I dont believe in the solitude ofthe auteur with a capital A.Furthermore, Godard admitted that him and the likes of Truffaut, Rohmer and Rivette whilst taking the plaudit for the auteur theory, exaggerated the significance of the theory so as to establish personal expression as one of the primary values in Nouvelle Vague films.Several theorists have also raised doubts as to the significance of the auteur. Foulcault and Roland Barthes suggest that all creative ideas are moulded by the social and political forces that smother us. They go on to state that ideas are contrived from the knowledge that one has gained from past experiences. If one puts this in the context of Godards films it would suggest that Godards cinematic ideas and techniques were influenced by what he has learnt from past experiences.An example of this can be seen in his indirect use of Brechtian distanciation. Whilst it is evident that he was inspired by Brec hts idea of alienating the audience to prevent them from being passive observers can one really claim that Godards cinematic techniques were not the resolve of Brechts indirect influence? Furthermore, when analysing many of Godards films, Godard refers to several quotes from the likes of William Faulkner and Edgar Poe. These are quotes which could have been easily edited but instead Godard taste for quotation suggests that he is not the primary and shaping force in his films. rowOne of Godards obsessions as a director was his use of language and his belief that words could represent anything. Whether his characters are just mouthing words or when they say one thing and then immediately contradict it, it exhibits his want to become a writer through his films. In doing this he is intriguing the use of words and at the same time expressing his desire to be an author, similar to that of being a novelist or playwright.He wants to aspire to the placement of being a writer as though cin ema is some sort of parvenu that can find legitimacy by talk of the town about poetry of cinema and therefore elevating it to that status. Godard therefore investigated how meaningful words can express the way you feel, through his use of subtitles, language through signs and translation. Vivre sa Vie is a good example of this as the characters speak different languages and therefore need an intermediary, Francesca to put their views across.Furthermore, in one of the final scenes of Le Mepris Camille and Jerry, despite not speaking the same language use signs to express their thoughts. Camille states that she likes to type by gesturing her fingers typing on an imaginary typewriter and Jerry who gestures his reaction to this with his workforce stating that she is crazy.One could also suggest that Godard is expressing his own views through the use of language. In certain scenes of Vivre sa Vie it almost appears as if Godard is either articulating his opinions through voiceovers or, uses the characters as mouth pieces of his thoughts. When Nana speaks to the philosopher she says that we are all responsible for our actions, we are free, I am responsible (which she repeats five times)you only have to take an interest in things, things are what they are, life is life.Furthermore, in the scene when Raoul reads an extract of Edward Poes haltwhich is in fact Godard doing a voiceover. This Godard style is also a very good alienating technique, as whether he is speaking implicitly or explicitly he is constantly reminding the viewer that he is making a film of which he is the director. So you are therefore never able to simply surrender to the naturalistic credibility of the language in films which was the shell in conventional cinema. Rather he is deliberately making the viewer aware of the film making process.