Jean-Luc Godard

director and instead looked to be auteurs. Moving into the 1960s, auteurs both in Hollywood and overseas developed film that broke conventions of how film is made and what is acceptable to show. Through films such as Alfred Hitchcock’s Psycho (1960), Jean Luc-Godard’s Contempt (1963), and Robert Drew’s Primary (1960) a new wave of cinema developed where filmmakers aimed to break classic Hollywood conventions with distinct styles of filmmaking playing with the idea of a voyeuristic audience and a new affection

gave me a familiar feeling upon first viewing. I was taken back to a time when a friend of mine, who is deep in knowledge of the cinematic medium, criticized “Pulp Fiction” stating that it was a shameless and terrible carbon copy of “Breathless”, Jean-Luc Godard’s medium redefining film released in 1960. I proceeded to watch “Breathless” and caught a drift for what he was talking about along with a growing intrigue within myself for the French New Wave. Upon viewing “The Man Who Fell to Earth”, I

budgets designated to films nowadays the idea that a director can be an auteur is merely a fantasy. Godard himself in a recent interview said “I am not an auteur, well, not now anyway…we once believed we were auteurs but we weren't. We had no idea, really. Film is over. It's sad nobody is really exploring it. But what to do? And anyway, with mobile phones and everything, everyone is now an auteur."(Godard,) The actuation behind films is sales. Even ‘artistic’ films are driven by sales. The auteur that

A Bout de Souffle, also known as Breathless, was directed by Jean-Luc Godard in 1960. It was his best film so far and it was in the new wave period. The film focuses on how the story is told and not what it says. Godard filmed a lot of it without a written script and improvised most scenes. By Godard doing this it made the film more natural and realistic. In the beginning of the film the main character, Michel Poiccard, stole car and killed a police officer. Michel later escaped to Paris, where he

Breathless: Movie Review A Bout de Souffle or Breathless is a movie filmed in 1960 by Jean-Luc Godard. Michel Poiccard (Jean-Paul Belmondo), who also used documents of Laszlo Kovacs is a main character of the film. The man is a fraudster (or other type of criminal) who killed a French policeman and tried to save himself after it. Michel was a womanizer and American student Patricia Franchini became his last partner. The woman worked in the newspaper in Paris and followed Michel during the most part

Explore the origins and usefulness of auteur theory in relation to a non American director of your choice. The concept of Auteur was first introduced by Andre Bazin in an essay featured in a 1954 edition of Cahier du Cinema, often referred to as ‘camera stylo’ or ‘signature style’ as a way of critiquing French new wave cinema. This theory allowed film to be criticised and analysed in the same way as other creative platforms such as art and literature. By identifying the director as auteur as opposed

films are introduced as models conveying authorial marks, among which are Day for Night (La Nuit Am?ricaine, Truffaut, 1973) and 8 ? (Fellini, 1963). In order to demonstrate this, I will take in this chapter these two films together with Tout Va Bien (Godard and Gorin, 1972) as illustration. Determined by Bordwell as adversary to art cinema, the third reflexive work balances the discussion on the projection of auteurism in meta-cinema as an interrogating approach. All examples reflect the process of filmmaking

Jean-Luc Godard stumble upon jump cuts when he was commission to do a 90 minute film, but he surpassed that limit and had to cut the film down but, still ensure that it makes sense and has a rhythm. When he finished editing the film, the clips made sense and he saw that it works. I believe that Jean-Luc Godard uses jumps cuts because he discovered that the audience does not need to be shown the whole transition scene and can just jump to a different scene and still make sense to the viewer. Furthermore

Reflection #1 – Hugo (Scorsese, 2011) “What precisely is the cinema of attractions? First it is a cinema that bases itself on the quality that Leger celebrated: its ability to show something.” – Tom Gunning It was in a large, packed cinema that I first viewed Hugo in 2011. During this initial viewing it had not occurred to me that this film was a spectacle of the history of cinema. However, upon revisiting the film with a more developed understanding of film history, I was delighted to be able

French New Wave movies had some common thematic affinities; many of these movies portrayed that authoritative, romantic, and political relationships are distrustful (Thompson & Bordwell, 2010). Francois Truffaut’s movie The 400 Blows (1959) and Jean-Luc Godard’s movie Breathless (1960) have a common theme of