Jean Luc Godard Research Paper

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Probably the French New Wave’s most prominent international figure is Jean-Luc Godard, who could be described as a visionary of film both in France and abroad. Apart of his remarkable career as a screenwriter and director, Godard was first of all a highly esteemed critic of film. Being part of the Cahiers de Cinema as one of the magazine’s most celebrated contributing actors, he was praised for his experimentation with both the thematic and technical aspects of film production (Sterritt, 1999). The abounding literature on Godard is resulted from not only his prolific career but also from his intricate, ground breaking techniques and ideas that he promoted so devotedly. Only due to the prolificacy of his works, some sceptical critics who are not on the same wavelength and do not grasp his creation assert that there is a problem complaining about his work consisting of ‘too many images’, ‘just as the emperor in Amadeus complained of ‘too many notes’ in Mozart’s music’. Nevertheless, this eloquence originated from spontaneity and improvisation has been essential to Godard’s methods/style from the beginning and as explained by Sterritt, ‘the speed of his production is inseparable from its fecundity, variety, and complexity’. Perhaps one of the most …show more content…

The film had plenty of personality on its own to strike a genuinely original note in the cinema medium. Together with the other productions of the early New Wave, Truffaut’s Les 400 coups, Rivette’s Paris nous appartient, and Chabrol’s Les Bonnes Femmes, Breathless had an eye-opening impact on directors from all over the world. As explained by Sterritt (2000 OUT), filmmakers from Hollywood and elsewhere, ‘scrambled to emulate its blend of photographis realism, stylistic exuberance, and performances perching on a razor-thin line between Brechtian self-consciousness and B-movie

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