英语论文网

o evident in the film a bout de soufflé. There is a series of filmic action and events that occur, yet at the same time, there is also a parallel set of events depicted that speak about the film and appear to offer an outside view that is distinct from the events taking place within the film. For example, in one of the shots, the character Belmondo in the film passes by a movie poster, which reads” to live dangerously” which is in reference to Aidrich’s W Seconds to Hell (Andrew 1987:148). A few scenes later, the filmic action occurs against the background of another film poster; this time one of Humphrey Bogart in the film “The Harder they fall”. There is a suggestion that the character is moving in dangerous terrain and the posters in the background serve in the nature of a comment occurring off screen, disconnected from the events of the film and yet offering an observation on it.

There are more such references from films and theatre that occur in the film; for example as the film moves into its concluding segment, the character of J.P. Melville in the film makes an oral reference to Cocteau’s testament d’Orphee. Subsequently, the character of Jean Seberg runs away from a detective inside a theater that is playing Preminger’s Whirlpool; she is able to successfully escape the detective. After this, she runs with Belmondo into yet another theatre and in this instance, it is Boetticher’s Westbound .

The association of movie action with posters and scenes from films and theatre which symbolize certain kinds of events results in a degree of unreality being accorded to the final moments of Godard’s film itself. For example, when the death of a character occurs at the end of the film, the audience tends to view it through the referential frame of the movies and posters that have been viewed, so that it is not tragedy, pity and fear that is inspired in the viewer but rather a feeling of filmic inevitability, as if the character has been absorbed into the referential frame of filmic reality and immortality rather than the tragic reality that is playing out on screen.

Godard successfully employs this technique of standing back from the film itself and offering a narration, observation or comment on the film that is outside the main frame of reference of the film. This is one of the recurring characteristics in all his films and is line with the Brechtian theory of alienation. Brecht’s assumptions were that we as human beings, are isolated from the world around us through the manner of language we use for instance, which is not in line with our actual experiences of the world but in effect, proceeds along a different path, objectifying the world rather than allowing it to develop out of our subjective experiences. This tends to isolate us in an area where our objective knowledge and manner of expression in an objective world is in sharp contrast to the subjective experiences we may gain.

Brecht characterizes this as follows: “Alienation is nothing but a representation, that is ‘making noticeable’’ of estrangement. (Ludwig 1972:20). Brecht suggests that the only way by which humans can disassociate themselves from this process of alienation is to withdraw and separate ourselves from this alienated experience in order to discover a more s本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。