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Jul 20, 2003 · Modern movies begin here, with Jean-Luc Godard’s “Breathless” in 1960. No debut film since “Citizen Kane” in 1942 has been as influential. It is dutifully repeated that Godard’s technique of “jump cuts” is the great breakthrough, but startling as they were, they were actually an afterthought, and what is most revolutionary about the movie is its headlong pacing, its cool ...
- People Actually Enjoy it.
- It Breaks The Rules.
- The Auteur Theory.
- The French New Wave.
- It’S self-conscious.
- It Marked The End of Classical Cinema.
This seems obvious, but many critically important films leave audiences and even critics underwhelmed. Citizen Kane is the best example. On facebook or in conversation, it is rare that someone, even the artful, intellectual college students that I’ve been around for the past four years, cite Welles’ film as their favorite, and many haven’t even see...
Godard set out to very purposely break the rules of classical cinema, from its production norms to its stylistic grammar. Even today, Breathless confuses and disorients, but since so many of its stylistic innovations have been appropriated by new films, TV advertisements, and music videos, it might be difficult to understand just how shocking it wa...
The auteur theory is inextricably linked with Godard and the French New Wave. Simply put, the auteur theory is the idea that the film director “writes” his or her film as the author writes his or her novel. The theory – in French called la politique des auteurs but translated to auteur theory by the Village Voice critic Andrew Sarris – was first de...
Breathless was not just part of the French New Wave; it was one of its prime-movers. Along with François Truffaut’s The 400 Blows and Alain Resnais’ Hiroshima mon amour, it was one of the movement’s three key films. In brief, the New Wave was a group of films appearing in the late 1950s and 60s; these films constituted a cinema renaissance that bro...
As films and films genres evolve, they tend towards greater self-consciousness. Films become increasingly aware of their own conventions, in large part because the audiences do, too. What separates Breathless is its great leap forward in terms of self-consciousness. Godard, an outsider to the film industry at the time, had an immense reserve of kno...
Perhaps the most essential reason why Breathless remains significant today is that it marks the shift to post-classical cinema that we’re still in today. In the 1920s, in France and in the United States, the ways films were made and even their content began to be standardized and by the time sound films came about a set of codes was established. Th...
Nov 13, 2020 · By: Tom Barnard. That infamous and massively influential debut film by Jean-Luc Godard, generally regarded as his best or at least his most beloved work, is now 60-years-old and returns to our screens with a brand new 4K restoration. Safe to say that Breathless, with its aimless, jazz-like appeal, has never looked – or sounded – better.
- Jean-Luc Godard
Feb 28, 2014 · Breathless. Then and Now. T he opening of Breathless is “unprecedented,” in that we never learn what route brought Michel Poiccard to the Vieux Port of Marseille, where he surveys the future from the very edge of France. This first shot strikes a match to touch off an oil fire that will race through the film’s incidents and images, indeed ...
Breathless (French: À bout de souffle, lit. 'Out of Breath') is a 1960 French New Wave crime drama film written and directed by Jean-Luc Godard. It stars Jean-Paul Belmondo as a wandering criminal named Michel, and Jean Seberg as his American girlfriend Patricia. The film was Godard's first feature-length work and represented Belmondo's ...
Jun 7, 2010 · Breathless (1960) By ERIC D. SNIDER, FILM.COM June 7, 2010. Breathless was one of the films that kicked off the French New Wave, a movement that inspired countless directors and led to a ...
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Did Jean-Luc Godard make a film before or after Breathless?
Jul 26, 2023 · Synopsis. There was before Breathless, and there was after Breathless. Jean-Luc Godard burst onto the film scene in 1960 with this jazzy, free-form, and sexy homage to the American film genres that inspired him as a writer for Cahiers du cinéma. With its lack of polish, surplus of attitude, anything-goes crime narrative, and effervescent young ...
