Discussing Breathless (Jean-Luc Godard Analysis)
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- Опубликовано: 15 июл 2018
- Hello, New Wave!
David and I chomp off a piece of Jean-Luc Godard's landmark first film.
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I am a film student.And I amdeeply moved by your analysis it opens my eyes about the medium...I am an Indian and completely unfamiliar to American french culture but we have to watch these films anyway..now I am feeling what Godard is...and his film language which is universal.the thoughts behind those cuts, those frames those dialauges are not specific to france they are universal.I love cinema more than ever.
That's unbelievably awesome! I am moved by your comment and I'm astonished to see that you appreciated the video analysis. The very best films are universal. The very best movies are dynamically becoming and change over time. I hope you get to make a movie like this someday. Keep falling in love with cinema. Don't ever stop loving it. Thank you so much for sharing your thoughts. It means a lot to me to read this kind of feedback.
1959 also saw Hiroshima Mon Amour. For me, that is the start of the French New Wave. Thanks for this video.
À bout de souffle est un film précurseur. Il est venu casser les codes à une époque où le cinéma français ronronnait un peu. Par sa narration, sa mise en scène, son utilisation des moyens techniques, Jean-Luc Godard a révolutionné la manière de faire du cinéma. Ce style se répercutera dans le cinéma mondial. Jean Seberg sera l'icône de la Nouvelle Vague. Portrait : Jean Seberg était une jeune femme spontanée et attachante, sincère et infiniment séduisante, Jean a traversé la Vie comme une comète avec une innocence et une fraîcheur de cœur et d'esprit qui ne se sont jamais démenties. Jean repose aujourd'hui dans la plus grande modestie au cimetière du Montparnasse à Paris. Je n'habite pas dans cette ville sinon j'irai lui déposer des fleurs sur son lieu de repos car je pense beaucoup à elle. A sa mémoire !
Breathless is a precursor film. He came to break the codes at a time when French cinema was humming a little. In his narration, his staging, his use of technical means, Jean-Luc Godard has revolutionized the way of making cinema. This style will reverberate in world cinema. Jean Seberg will be the icon of the New Wave. Portrait: Jean Seberg was a spontaneous and endearing young woman, sincere and infinitely seductive, Jean crossed Life like a comet with an innocence and a freshness of heart and spirit that have never been denied. She rests today in the greatest modesty in the Montparnasse cemetery in Paris. I don't live in this city otherwise I will go and lay flowers on her resting place because I think of her a lot. In his memory!
*La vie est courte. Mais elle parait si longue avec toi ! Lucien*
Thank you!
Bergman, Godard, Antonioni. The basis of all modern filmmaking is the oeuvre of these three directors.
We are all out of souffle. Boom-tisch...!
zach i loved this critic and pierrout lefou rone too , and i d love to see you one day talking about contempt
Thanks, and I'll be making a Contempt video someday but I don't know when. I love it.
Brilliant film!
I'm just a little confused, is goddard "meta" you guys were a little vague.😂🤔
I think that as Michel lays dying on the pavement, he whispers "I'M a louse", then Patricia asks "Quest que c'est, (French word)?", THEN the cop answers "He said YOU'RE a louse".
This puts a whole new spin on that ending.
You are painting the characters as way more simpletons than they actually are, it's more like they have a lingering emptiness and they are trying to find their place in the world rather than just being dolls. Michel is the missing link between a classic noir protagonist Bogart would have played and the young angry men that would become so prevalent in Hollywood films by the end of the decade.
It is the strangest thing to hear "the author theory is proven today" when acording to the current film theory it is completely thing of a past - it is considered a relic since the end of 60s by the vast majority of professional film theoretists. I watched some of your videos and your views seem to be overall a bit archaic, a bit naïve from current point of view. But I respect that because I am also a bit conservative in this sense and I see the concept of authorship as a useful one - but only in a post-death of author way. It is one thing to still use the frame in conversation (I do it) but it seems that you don’t realize that the film theory is half century over it and that the author as proposed by the author theory is not a thing current generation of theory even considers as a possibility.
it's auteur theory
Hmm. So you are saying that a film’s greatness is a sum of it’s contributors and should not be attributed ever to the Director by him or herself? I wonder if that “theory’ will be considered conservative in another 20 years.
@@milacaceres6557 I dont know what will happen in 20 years. Maybe the discourse will flip again. But at least since 90s the "new history" approach is dominant and author is considered overcomed. It is not only film, in no historical studies would go smoothly to use the lence of special individual and his single will. The end of "author" is only part of the bigger "trend". If you can call a "trend" something that lasts for at least 30 years, but has roots in 60s.
@@milacaceres6557 author theory is basicaly the last breath of 19th century romantism. It exists mostly to be disproved.
You auteur be ashamed of yourself 😊