'A bout de souffle', Jean-Luc Godard's eerste 'feature' film (1960), heeft een vrij simpele verhaallijn, dat geschreven is door vroegere collega en vriend Francois Truffaut: Een man steelt een auto in Marseilles en rijdt naar Parijs. Tijdens deze rit wordt de hoofdpersoon, Michel Poiccard, aangehouden door de politie wegens het overschrijden van de maximum snelheid, waarna hij een agent neerschiet en rennend verder gaat naar de lichtstad. In Parijs moet hij geld ophalen bij een vriend van hem en probeert hij een Amerikaanse vrouw, Patricia, over te halen om mee te vertrekken naar Rome. Zij twijfelt over haar liefde voor Michel, wat resulteert in verraad, aangezien ze uiteindelijk, wanneer ze op het punt staan Parijs te verlaten, de politie informeert over het adres waar Michel op dat moment zich bevindt. In plaats van te vluchten besluit Michel te blijven en op de politie te wachten om naar de gevangenis te gaan. Maar wanneer de politie arriveert, werpt een vriend een pistool naar hem in een laatste poging hem te redden. De politie raakt in paniek en schiet Michel neer, waarna hij wankelend door de straten loopt om uiteindelijk aan het einde door zijn knieën te zakken en te sterven.
Dit is in grote lijn het verhaal in 'A Bout de Souffle' en hoewel de film amuserend kan zijn zonder een poging te ondernemen de film te analyseren, kan de status van 'meesterwerk' alleen begrepen worden door een analyse van zijn historische context. We moeten, vooral in een film als 'A Bout de Souffle', proberen de cinematografische stijlen in Europa en Amerika in 1960 te begrijpen.
Er zijn drie aan elkaar gerelateerde feiten over Godard en zijn 'A Bout de Souffle' die de film tot een nieuw historische mijlpaal maken op het gebied van de kunst (met name de audiovisuele kunst).
Ten eerste, was Godard extreem bewust van de relatie van zijn medium met andere vormen van expressie. Vooral literatuur, filosofie en de schilderkunst. In zijn stijl valt deze 'interconnectiviteit' tussen de verschillende media duidelijk op te merken. In een interview in 1962 zegt hij: "Voor mij is de continuïteit van alle vormen van expressie erg belangrijk."#
Ten tweede, hoewel 'A Bout de Souffle' een enorme afkeer kent van de geaccepteerde methodes van cinematografie, kende Godard zijn plek in de evolutie van filmstijl, en kunnen we zien dat deze afkeer een manifestatie is van het bewust zijn van die geaccepteerde norm.
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
Providers must act in the best interest of the patient and their basic obligation is to do no harm and work for the public’s wellbeing. A physician shall always keep in mind the obligation of preserving human life. Providers must communicate full, accurate and unbiased information so patients can make informed decisions about their health care. As a result of their recommendations, providers are responsible for generating costs in health care but do not generate the need for those expenses. Every hospital has both an ethical as well as a legal responsibility to provide care, even if the care may be uncompensated.
Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003.
The film illustrates the common social and sexual anxieties that the Germans were undergoing at that period of time. It also employs cinematic aesthetics alongside with new technology to create what would be considered as one of Germany’s first sound-supported films. Furthermore, it was the film that popularized its star Marlene Dietrich. The film is also known for combining elements of earlier expressionist works into its setting without becoming an expressionist film itself. It is important also to point out that the visual element has helped to balance the film easily against the backdrop the nightclub lifestyle that Lola leads the professor to fall into.
This essay uses a contemporary short film and an 18th century text to discuss Chatman's concern of bestimmtheit in films. I hope to address certain concerns such as the extent to which a film can "specify" a particular object and what this specification does with regards to our understanding of the text. In addition, I will relate the compression of information into imagery to the limitations of time, given that a short film has a limit of 15 minutes. To do this, I shall analyse the cinematography of the short film, and show how relevant they are in bringing out certain scenarios described in Defoe's text. The short film in question is The Periwig-Maker, a clay-animated film directed by Stephen Schaeffler and narrated by actor Kenneth Brannagh, and it will be analysed with relation to the text it is based on, A Journal of the Plague Year by Daniel Defoe.
Since the very first actualities from the Lumière brothers and the fantastical shorts of Maries Georges Jean Méliès, cinema has continually fulfilled its fundamental purpose of artistic reflection on societal contexts throughout the evolution of film. Two French cinematic movements, Poetic Realism (1934-1940) and French New Wave (1950-1970), serve as historical bookends to World War II, one of the most traumatic events in world history. The Rules of the Game (Jean Renoir, 1939) is a classic example of French Poetic realism that depicts the disillusionment in society and government politics by a generation already traumatized by the monumental loss of human life during the First World War. Breathless (Jean Luc Godard, 1960), one of Jean Luc Godard’s most iconic films, portrays the next generation’s consequential feelings of loss and struggle. Both Rules of the Game and Breathless embody the spirit of their respective movements while exploring realism and redefining the purpose of cinema. However, while Rules of the Game contrasts the formative and realistic traditions through long takes and deep focus, Breathless breaks cinematic conventions through distanciation techniques and disjunctive editing to convey disillusionment and cinematic realism. Though these techniques and definitions of realism are seemingly oppositional, Godard and Renoir both hold to the same cinematic purpose of communicating their feelings of disillusionment towards society with the audience.
Shinto is the indigenous religion of Japan. Founded in 660 B.C., it traces back to the very first people to settle in Japan. Shinto focuses on ancestral worship and is deeply immersed in Japanese culture. Even though it is as ancient as Japan itself, Shinto is still very widely practiced by Japanese people today. However, over the years, it gained some influence from Buddhism, Confucianism, and Taoism. Over 50 percent of the Japanese population still practice Shinto.
Perf. Hanna Schygulla, Klaus Lowitsch, Ivan Desny, Gisela Uhlen. Albatros Film LTD, 1979. DVD. The. Rentschler, Eric. A. "From New German Cinema to the Post-Wall Cinema of Consensus.'
Gaudreault, A 1990, ‘Showing and Telling : image and word in early cinema’, in Elsaesser, T & Barker, A, Early cinema : space, frame, narrative, BFI Publishing, London, pp. 274-281.
Carl Theodor Dreyer, Four Screenplays; Translated by Oliver Stallybrass ã1970 by Indiana University Press, Bloomington
The origins of Shinto and Judaism are rich in history, yet it is the steadfast strength of their belief systems that are most fascinating. While the beliefs of most religions will evolve with time, the core beliefs of these two religions seem impervious to the cultural and generational changes in modern times. In fact, their belief systems seem to be the very foundations of which their cultures were originally built upon In exploring the completely diverse beliefs of Shinto and Judaism, an appreciation for the longevity of each is undeniable.
One of the main reasons that the Shinto faith can be described as the goodness of human nature and very accepting of nature itself, is due to the religion’s belief in the kami. Since, kami are present in many different elements of our world, including nature, and the term kami encompasses the Shinto deities, it is fairly understandable that the Shinto would have a reverence towards nature and the well-being of nature. Therefore, the Shinto religion’s acceptance of all of nature is not that surprising due to the role of kami in their faith. Shinto being described as the goodness of human nature and of the world also has to do with the Shinto people’s belief in kami. The Shinto people have a very particular set of beliefs and values, all of which respect the kami. For this reason, the people who practice the Shinto religion are extremely aware of other people as well as their surroundings, making them very conscientious of others; thus, allowing the Shinto religion to be described as the goodness of human nature and of the world. Consequently, one of the Shinto religion’s main beliefs, a belief in kami, as well as some of the other aspects of the Shinto religion, has influenced the religion so much that the Shinto faith is both accepting of all of nature, while also being described as the goodness of human nature and of the
The origin of the Shinto religion dates back to the beginning of Japanese history. Shinto was first used in the 6th century C.E., even though the roots of the religion date back to at least the 6th century B.C.E. Shinto does not have a founder and does not have any sacred scriptures that correlate directly with the religion. Shinto bases the majority of its principles on ancient books. Two of the most important books of the Shinto religion are the Kojiki and the Nihongi. While preaching is a usual practice in Christianity, it is uncommon in Shinto. This is due to the fact that Shinto is already deeply rooted into the Japanese people and traditions. Shinto is a local religion and the percentage of people who practice Shinto quite small. The word Shinto originated from the Chinese characters “Shin” meaning “divine being” and Tao meaning “way of the spirits”. All together this translates into “Way of the Spirits”.