Godard used a lot of time to describe protagonists’ personalities and the ways they have relationships with people and the way they live in the film.

À bout de souffle is a New Wave film and cinematograph, like mise-en-scene and natural lighting, is used for indicating the idea of a medium of art which represents people’s real lives; this is totally different from “cinema de papa”. These films greatly affected and influenced the cultural scene during the sixties and has continued to influence it today.

Although at the same time, it underlines her inner conflict between love and a career.

Godard focuses on the act of film, what is film, what are characters, the physicality of film. “A categorically obvious departure from all the technical rules, an evident taste for provocation, drove Jean-Luc Godard to reinvent cinema,” emphasised Jacques Siclier.

This is a wonderfully detailed and observant analysis!

Since those New Wave filmmakers were critics at first, they lack practical skills and that is why there would be jump cuts and elliptical editing in New Wave cinema. They wanted to make films in a different way and that way needed to be fresh. Explaining the same point a little further, he says, ‘Life is nothing until it is lived; but it is yours to make sense of, and the value of it is nothing else but the sense that you choose’ (ibid: 54).

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Tarantino works with trash, and by analyzing, criticizing, and formalizing it, he emerges with something new, just as Godard made a lyrical work of art in Breathless out of his memories of casually crappy American B-movies.

The wo/man who defines herself, or himself, as a victim of fate renders herself, or himself, an object. Later in the film, Michel asks her, “Do you ever think of death? The group called themselves a “band of outsiders” and they were united by their contempt of the ‘tradition de qualité’ which dominated the film industry at that time. Primarily, the film grows out of film noir but with a strong awareness of other gangster movies, and a streak of black comedy that derives from the theatre of the absurd: a moment such as that in which Patricia closes her eyes and says, ‘I’m trying to shut them very hard so that everything goes black.

Synopsis: ... things remain ambiguous and uncertain rather than finally resolved. So, in that context, Godard looks like a pretender, the mumblecore maestro of his time… in other words, self indulgent, crappily done and largely pointless. Plus, with the way Patricia dresses, lives and talks to men, audience can also tell that she is independent financially, socially, mentally and sexually. Godard tries to show the rich workings of the inner lives of his characters by giving the audience little to reflect on in the terms of the plots of his works, instead choosing to focus in on the interactions of the very “real” seeming people in his films. The long conversations about nothing, the jumpy editing was funny for me, etc.

But I can’t manage to. Contained within the film is the realisation that challenging the various elements of mainstream cinema will also inevitably result in a questioning of received notions of what life is actually like.

Characters will go on long walks talking, looking, and listening. and inhuman, but his great films are very solid, and very different from anything mumblecore. “I love A Bout de Souffle enormously, but now I see where it belongs – along with Alice in Wonderland. This kind of cinematography also leads to small filming budgets and unique cinematic style. Just as 8 1/2 is concerned with film, so are most of Godard’s features. Although Patricia realises the role of the femme fatale at the end of the film, she disrupts the conventional role of woman at that time. It’s not any better, but grief, it’s a compromise.’) Jean-Paul Sartre’s Existentialism and Humanism was published in 1948 and his Being and Nothingness in 1956.


Plus, it shows the relationship and atmosphere between Michel and Patricia which is one of the important elements in this film. The scene presents a mix of wide frames of the two characters together, with close ups of their faces, and tracking shots which follow Michel and Patricia around the hotel room. Screenfice covers the latest Film & TV news.

Posted on June 11, 2019 by JL Admin. The filmmaker opens his audience to a new world of “an unforeseen form of naturalism.” The overall rapid rhythm of the film slows down during the ‘household lover’s scene’.

This film uses a lot of direct scenes of driving, which make me feel like I am really taking his car.

À Bout de souffle (1960 France 90mins) 35mm.

It might be said that as an audience we are reminded that film can soothe and comfort in a way that promotes a lack of thought, or it can be disconcerting and uncomfortable in a way that encourages reflection and debate. It is directed by Jean-Luc Godard and is distributed by Films Around the World, Inc. Furthermore, Michel and the policeman never appear in a single frame together. The first time I saw A Bout de Souffle, I was just dipping my toes into the French new-wave, and it was my first Godard film.

I don’t think it’s one of the best Godard films I’ve seen (Alphaville, My Life to Live, and Band a parte take those positions), but it’s an important film to be seen by film buffs, for better or worse for the viewer. A scene in a small studio flat between Patricia and Michel meanders its way between the light horseplay of lovers and deeper philosophical musings with little or no sense of drama or heightened urgency.

It is a small film, but it is closer to the real life.

This is a film that sets itself up as a popular movie but contains, easily (rather than uneasily) within its knowing address to film fans, a constant stream of highbrow literary and artistic references alongside challenging philosophical thoughts.

We are returned time and again to the complex, problematic concept of love and, in particular, whether it is possible to move beyond the self in this context.

“It’s decision-making at the last minute.”. I saw this movie in French class, and your analysis really helped me see more in the film than I did before. The hand held cameras, dodging in between characters, following them through city streets etc. The component parts, of what maybe we can describe as the French New Wave approach as initially conceived, come together to continually undercut the reader’s expectations and thereby demand thoughtful reader participation in the filmic process. Perhaps the main question placed before us is whether Michel has any control over what happens to him, or whether he is simply the victim of fate. Today, it continues to captivate.
However, despite the apparent lack of plot, I enjoyed it. In any concise guides to film history, Jean-Luc Godard’s A bout de souffle (Breathless) is accredited with introducing the jump cut.A jump cut is an obvious discontinuity caused by the editing: if either the background appears to move, and the characters remain in the same position, or vice versa, due to a different position of the camera, there appears to be a jump in the frame. Fotiade, R., À bout de souffle, (I.B.

Around this time, Godard was very clear that the key question was to do with ‘engagement’ with life.

William Faulkner, The Wild Palms, London, Vintage, 2000, p. 273 (‘Yes, he thought, between grief and nothing I will take grief’). Its biggest reference is of Humphrey Bogart. A Bout de Souffle (Breathless): Summary & Analysis. But I had admiration for the craft of the film- the editing and shots extraordinary at times- and as I’ve seen it again I think it’s better than the B grade I gave it a year ago.

Tauris & Co Ltd, 2013) That jumping from this shot to another unrelated shot is also known as jump cut. Godard is similar to other New Wave filmmakers. A Bout de Souffle was filmed on location which reduced the studio expenses and was filmed without expensive, famous actors. David Denby, in his review of Pulp Fiction, explained: “Pulp Fiction is play, a commentary on old movies. With Michel sexually harrassing girls and him stealing people’s money, audience can tell what a rogue he is. It also demanded only diegetic sound and special effects were forbidden.

New Wave filmmakers were self-conscious about filmmaking – the material of the film which is sounds and images.

Both are presented as determinedly independent and yet, contained within that, they are also the opposite, isolated and alone. Pulp Fiction, by contrast, displays an entertainer’s talent for luridness.”. Godard did not hesitate to display his influences. The viewer feels she is observing something more like a simple slice of life. All these elements are classic of detective films. The actions that take place often seem rather arbitrary, so that they dislocate any sense of a smooth cause and effect chain of events; and there is a lack of any clear goal orientation with characters apparently drifting aimlessly and acting on the spur of the moment.

The story itself might lack of plots.

Is the individual at the mercy of life, or does she have the potential to assert herself even in the face of seemingly overwhelming external forces? British-Filipino MSc Film Studies graduate. The first frame is of a woman on a newspaper, predicting Poiccard’s death at the hand of Patricia. Although he would later see his work before 1968 as being stamped by the mindset of the bourgeois intellectual, Godard does, it seems, want to create an audience that is asking itself, ‘Why did this happen in this way?’ rather than simply being driven by the desire to know, ‘And what happens next?’.