Jean-Luc Godard

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  • Jean Luc Godard Analysis

    Despite the protagonist wanting nothing more than to be a rugged, hard-boiled film noir hero, Jean-Luc Godard depicts Michel as a foolish man who lives to emulate Humphrey Bogart. As Michel travels through his life of crime, jumping from one bad decision to the next, Godard captures the intricacies of Michel’s character and dedicates each layer of the film to conveying them. Like Michel, Godard is not afraid to take risks, and he uses compositional elements in unconventional ways to deepen the viewer’s understanding of Michel. Through the interaction of various editing styles and cinematography centered on the thoughts and feelings of Michel, Godard displays a world through the eyes of Michel where his self-involved personality and true feelings about Patricia shine through. Godard places the viewer in the…

    Words: 1197 - Pages: 5
  • French New Wave Film Analysis

    conscious movement it left a legacy with films like À bout de soufflé/Breathless (written and directed by Jean-Luc Goddard). French New Wave rejected the idea of a traditional story in films – they didn’t follow the structure and the narrative. The French filmmakers wanted the audience to react to their film like they would react in real life and wanted the films to be realistic as possible. The dialogue was spontaneous and as close to real life as possible,…

    Words: 1366 - Pages: 6
  • Analysis Of Wong Kar-Wai's Chung King Express

    narrative of the film works as Kar-Wai plays with the lose structure instead of having one story he has two. To keep these two stories relevant, he has almost the same theme of Love through both stories with officer 223 being still in love with his ex-girlfriend and growing feelings for the woman in the blood wig. Also, officer 633’s flight attended girlfriend leaving him and him falling in love with the Faye. Each time the stories intersect the viewer is given a better view what and where each…

    Words: 1120 - Pages: 5
  • French New Wave Films Analysis

    was a movement based off of realism and focusing on creating films that are centered in some form of reality. Some of this was done by using natural lighting, natural sound, and creating scripts and making changes on the fly. Jean-Luc Godard was best known for this rather than choose to polish and create clean films he created films that essentially were flawed. This happened as a result of him and other creators choosing to improvise scenes and make the movie as they shoot. Many saw Godard’s…

    Words: 1361 - Pages: 6
  • Claustrophobia In The Secret Life Of Richard Lester

    themselves into a singular figure, having his individual presence act as the driving force that would define and enrich the film; in this film, the obvious case would be John Lennon due to his rebellious nature, his cheeky attitude, and his palpable influence he has over the other members of the group. However, Lester remains loyal to each of the four members, allowing its concise screen time to be equally shared, where a noticeable sense of growth could be felt with each passing second, and…

    Words: 1041 - Pages: 4
  • The Mood For Love Analysis

    Wong Kar Wai is probably the most innovative and avant-garde director to come out of Hong Kong. As part of the second New Wave of Hong Kong cinema, Wai moved far away from the traditional, Jackie Chan and Shaw Brothers style of films, which focused on action, and explored more substantial themes, icnluding human psyche, politics and the social conditions in Hong Kong. His aesthetics are quite similar with Jean-Luc Godard and the French Wave, in general, particularly because he also took apart…

    Words: 2130 - Pages: 9
  • Citizen Kane Mise En Scene Analysis

    Photography is the key element of mise en scene that determines how an audience will interpret the visual information in film. Orson Welles used the photography of his 1941 film Citizen Kane to emphasize aspects of the film he wanted viewers to focus on, and to remove non-essential information from the frame. This was accomplished through various camera tequniques including manipulation of angles and proxemity. Approaching the end of the film there is a scene just after Susan (played by Dorothy…

    Words: 734 - Pages: 3
  • French New Wave Analysis

    the director: writers, great thinkers and even Hollywood actors, through countless references in style, mise-en-scene or even dialogue. Roy Armes notes this constant intertextuality, and how it was in essence, a way for these educated artists to make sense of life, and to trade, through the code of careful references, their opinions and film preferences (French Cinema 175-6). In Breathless, through “the homage to Bogart, the posters of The Harder They Fall , the quotation from The Enforcer when…

    Words: 1207 - Pages: 5
  • Christopher Nolan As An Auteur

    In order to understand why Christopher Nolan as a director is, nowadays, considered as an auteur, it is important to rehash the French film critics’, of Cahiers du cinéma, theory of the auteur. “Astruc argued that cinema was potentially a means of expression as subtle and complex as written language. He argued that cinema too was a language, ‘a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in a…

    Words: 1574 - Pages: 7
  • The Similarities And Differences Of Martin Luther King Jr. And Malcolm X

    I can write about anything else. I can write about the similarities and differences between Martin Luther King Jr. and Malcolm X. I can write about the use of Anglo-Saxon language in my favorite folk epic Beowulf. I can even write a haiku, you name it, the subject could range from Donald Trump’s hair to the hopeful return of Michael Phelps in Tokyo 2020. Anything at all. Yet, to ask me define myself is a daunting task because I am still trying to figure out who I am. I am envious of people that…

    Words: 1266 - Pages: 6
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