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me cool. Pop music playing in the background as the protagonist walks into a café. The viewer makes an automatic association of the image with the character of the protagonist as hip and cool. Then as she leaves the shop, the music suddenly stops and devoid of the sensory backdrop, the viewer is forced to revise his/her original impression of the cool young woman and sees her as just another ordinary woman walking out of a store.

But a moment later, the music starts again, as if, now satisfied that the viewer has been forced out of his/her sensory haze, the director seeks to push the viewer back into the unreality of what is playing out on camera. Godard effectively uses sound as a vehicle to force the viewer to refrain from responding to the film with stock emotions; rather he must view the film from a perspective that is different and unique.

According to Dixon (1998) Godard’s sound techniques employed in his films, whereby he layered his sound tracks with an eclectic mixture of natural sounds and classical music, with dialogues and voiceovers, which is a reflection of his vision as a film maker. Godard’s reflexivity is also evident in the soundtrack of Le Mepris, where the ancient Odyssey scenes are shot in a different kind of lighting and color and utilize different theme music, yet they are similar enough to evoke a connection between the two, which suggests that the two are linked – is the ancient day Odyssey story occurring within the context of the modern day? The musical themes of the two parallel stories are “Camille” and “The Gods”, yet the similarities in the music themes suggest similar emotional undertones in both stories.

For example, the opening chord in the film is a tritone in Bb-e, which is somber and dark suggesting something ominous that could be associated with the devil. The music in itself suggests that the tone of the film will be such that there may be a tragic outcome. This impression is paralleled in the theme music of the parallel visualization, characterized mostly by the use of strings and harps in a minor chord, which in classical music is traditionally associated with seriousness, sadness and ultimate tragedy. The nature and composition of the music in le Mepris thus highlights the allusion of the modern day playing out of the Greek classical tragedies of ancient times.

Godard describes how he visualized the scenes in the film dealing with Odyssey in Le Mepris as being lit in a manner that was much different from the main film, in order to give the impression of a film occurring within another film. Those particular scenes were to be photographed such that “the colours will be more brilliant, more violent, more vivid, more contrasted also in their organization.” (Godard 1985:146). This is in sharp contrast to the documentary style used in Vivre Sa Vie for instance where voice-overs and the spoken, poetic narrations provide only the backdrop to the tantalizing glimpses of the character of Nana that keep appearing throughout the film.

Conclusions

Godard was undoubtedly a Director whose films displayed his own unique stamp, and his striving to depict the emotional nuances of his characters through the utilization of the tools of sound, colo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。