CMLT214
Sec 0103
Godards Treatment of the New roll up Heroine
Jean-Luc Godard left his signature stamp on the films he order in many ways, through both structural and memorial elements. However, his auteur directing is most apparent through his treatment of the movies heroines. His use of the womanish characters is at the same time idiosyncratically unique, yet very much a smash of the French New curl up movement. Jean Pierre Melville was to say, No New revolve tendency existed. If it were to exist it would purely and simply be the style of Godard (Ezra 172). However, passim Godards films we can see commonalities centered on his effeminate characters that shape the unique thumbprint of his directing beyond the New Wave style. Patricia in Breathless (1960), Nana in Vivre sa vie (1962) and Odile in Bande à part (1964) share details in both how they are record and the subject matter they present on film. This paper depart explicitly discuss these three heroines, though other kit and boodle by Godard will be mentioned. Godard focuses specifically on the female gaze, cameras treatment of the female form, the woman in genre and the thematic component of female sexuality in his films.
These elements converge to reveal stylistic techniques which run through the three aforementioned movies, creating a style representative of Godard as an auteur director.
With need to the female gaze, Godard highlights his heroines vulnerability and self-consciousness by showing them looking for into mirrors at themselves, especially while they talk with their male counterparts. In Breathless, Michel stops in at an old girlfriends apartment, which is plastered with photos of her. Their conversation is held while the girl sits at her conceit table primping and dressing. She is so preoccupied that Michel has the time to distract some money from her purse. This sequence establishes her naiveté, in believing Michels innocent motives and allowing him to get away with his...If you want to get a full essay, order it on our website: Orderessay
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