Pierrot le fou

Today’s audience is one of laziness. The majority of content consumers are not programed to digest what they watch with a critical eye. While there is no real harm in this, there is room for change and experimental media has been trying to provoke that change for decades. Bertolt Brecht’s theory and practice of alienation, or v-effect, has been pulling audiences out of their comfort zone for a long time through many different types of art and entertainment. Another topic of discussion is “The Gaze”;

The significance of auteur theory and how it was directly a product of post-war French cinema has shaped film forever. This paper will analyze the beginnings of auteur theory and the theories of François Truffaut and his group of film critics as well as the effects of post-war France had on film. More specifically, this paper will help link the ideas of auteur theory with the works of Jean-Luc Godard, a noted French filmmaker that revolutionized the idea of what an auteur is. To define auteur theory

follows a young criminal on the run after killing a police officer. He returns to Paris with his young American lover, Patricia who unknowingly hides him in her apartment before she then learns about his criminal ways and notifies the police. Peirrot le Fou, also directed by Godard is styled after a film noir. But the movie is shot in color, mostly utilizing red and blue. The story follows Ferdinand, a man bored with his wife and bourgeois lifestyle that decides to runs away with the baby sitter, Marianne

color in some of his more political efforts. Red is a common color found in Godard films, one that he uses schematically to pay homage to his native country of France, but also in his attempt to symbolize his communist ties as seen in his films Pierrot le Fou and La Chinoise. Anderson and Godard are aware of the importance of deliberate color schemes not only for visual purposes, but in order to use the cinematic language to add dimension and subtlety to a

so the technological advances in television did not develop as fast as in the United States. It is only in the past ten years that the french television industry has created higher budgeted series that have succeeded in the international market. Les Revenants (The Returned) is a supernatural drama series that debuted in France in 2012,

of connection to the characters – we never even learn the name of, let alone actually hear from, Komura’s wife – which in turn creates this illusion of incompleteness on their part. Such incompleteness is also exacerbated by the epigraph from Pierrot Le Fou which refers to the deaths of 115 men as being “anonymous” because “we don’t know anything about these men, who they are, whether they love a woman, or have children, if they prefer cinema to theatre.” By knowing “nothing” of actual importance

FILM LANGUAGE FILM LANGUAGE A Semiotics of the Cinema Christian Metz Translated by Michael Taylor The University of Chicago Press Published by arrangement with Oxford University Press, Inc. The University of Chicago Press, Chicago 60637 © 1974 by Oxford University Press, Inc. All rights reserved. English translation. Originally published 1974 Note on Translation © 1991 by the University of Chicago University of Chicago Press edition 1991 Printed in the United States of America 09 08 07 6