1. Specialist Study Areas
1.1. Specialist Study Area: Auteur
1.1.1. Godard as an Auteur
1.1.1.1. Blurring of fact and fiction
1.1.1.1.1. Anna Karina stars in roles playing out scenes based on their rocky marriage
1.1.1.1.2. Poe's 'The Oval Portrait' could easily be read as an allegory for Godard and Karina's relationship
1.1.1.2. Musical Sequences
1.1.1.2.1. Evident in the nana dancing in the pool hall sequence
1.1.1.3. Fragmented style
1.1.1.3.1. Using sound in a random way, fragmenting the audio with cuts
1.1.1.4. Use of Brechtian techniques to alienate the audience
1.1.1.4.1. Encourage the audience to think through brechtian
1.1.1.5. Modernist Artist - experiements with form like the tableaux structure and intertextual references
1.1.1.5.1. Foregrounds film form with frequent breaks in the forth wall and leaving in elements that would traditionally be cut out like the actor before action, a self reflexive filmmaker
1.1.1.6. UPDATED Use of the latest technology
1.1.1.6.1. One of the first films to have full onlocation sound recording and full handheld camera
1.2. Specialist Study Area: Narrative
1.2.1. Godard was criticised by Truffaut who said Godard filmed 'the nature of actions' rather than filming ideas
1.2.1.1. Godard made Vivre sa Vie in response to this
1.2.1.1.1. Split into 12 tableauxs, constantly disrupted with voices reading stories, and philosophical debates
1.2.2. Formalism
1.2.2.1. Challenges conventional narratives
1.2.2.1.1. Brechtian Techniques of Alienation
1.2.2.2. Meandering elliptical story
1.2.2.2.1. Lack of exposition, we have a goal set out at the beginning, but Nana niether achieves nor frequently pursues this goal
2. Meaning and Response
2.1. Aesthetics
2.1.1. The conventions of close-ups, mid-shots and shout reverse shots are challenged
2.1.1.1. The film challenges how we intepret the world
2.1.1.1.1. If we cant see the characters faces we cannot connect their emotions with what they are saying
2.1.2. Godard moved away from lightweight cameras and used heavy Mitchell cameras, and expensive filmstock for vivre sa vie
2.1.2.1. Suggesting godard wanted each shot to be planned meticulously
2.2. Representation
2.2.1. Gender
2.2.1.1. Men are not portrayed as 'thugs'
2.2.1.1.1. Nana's husband seems sad about her leaving him
2.2.1.2. Glamorises prostitution by casting a beautiful woman in the role
2.2.1.2.1. However Tableaux 8 describes the poor reality and facts of prostitution followed by a montage of Nanas discomfort with clients
2.2.1.3. The reference to Joan of Arc combined with Nana almost being forced into a line of work in prostitution as a result of becoming poverty stricken
2.2.1.3.1. This forces the audience to empathise with nana's suffering, throughout the film and in teablueax 11 she states that she is 'responsible' emphasising godards philosphical messages
3. Context
3.1. Experimental Movement
3.1.1. Experimental Film
3.1.1.1. Characterised by absence of classical narrative structure, use of distracting techniques like foregrounding film form, intertitles and fragementation editing
3.1.1.1.1. Might be micro or low budget film, often created by an auteur out of personal passion rather than desire for profit
3.1.2. French New Wave films
3.1.2.1. Style of French New Wave Films
3.1.2.1.1. Emerged from a group of critics, who were uninspired by 'Cinema Du Papa' and decided to take cinema into their own hands
3.1.2.1.2. French New Wave films encourage active spectatorships, aiming to make the audience think, not feel or enjoy
3.1.2.1.3. French New Wave films distance the audience
3.1.2.1.4. French New Wave films foreground film techniques to make the audience aware they are watching a film
3.1.2.1.5. French New Wave films fragment the narrative with devices that disrupt the flow
3.1.2.2. Jean-Luc Godard and French New Wave Films
3.1.2.2.1. Godard started his career as a Cahier du cinema critic
3.1.2.2.2. He used his knowledge from being a critic to challenge the cinematic establishment, and purposefully employed what mainstream cinema considered mistakes
3.1.2.2.3. Vivre Sa Vie is Godards almost melodrama, the first film he deliberatley used Brechtian narrative techniques to emotionally distance spectators from the protagonists journey
3.1.3. Film Movement
3.1.3.1. A group of films that follow a similar style and structure
3.1.3.1.1. A group of directors who work together on different films for some type of purpose
3.2. Historical Contexts
3.2.1. Technology
3.2.1.1. Cheaper, lightweight cameras like the Arriflex and portable sound equipment meant directors could move beyond the studio, however godard optimised mitchell cameras, which were heavier alternatives to these new lightweight cameras
4. Analysing Film Form
4.1. Closing Sequence
4.1.1. Cinematography
4.1.1.1. Use of unusual framing, we only see the tops of characters heads
4.1.1.1.1. Godard is making us participate actively through nonconventional framing
4.1.1.2. Use of handheld camera defies classicist conventional cinema by providing a documentary style element
4.1.1.3. Prior to nana being shot, godard uses a single take with camera pans instead of hollywood style quick cuts
4.1.1.3.1. Hence no intensity is developed, reducing emotional attatchment when nana is shot
4.1.1.4. After nana is shot the camera tilts downward
4.1.1.4.1. Implies that somebody was recording this, gives the camera 'life'
4.1.2. Mise-En-Scene
4.1.2.1. Use of on location shooting a classic French New Wave aesthetic
4.1.3. Editing
4.1.3.1. When nana hugs Raoul we see a sequence of jump cuts and overlapping editing replaying the hug over and over again
4.1.3.1.1. Suggestive of how nana is rethinking what she is about to do, tell raoul she doesnt want to be his prostitute anymore
4.1.3.2. After nana tells raoul she doesnt want to be his prostitute Godard does use classicist editing elements
4.1.3.2.1. A fade to black connoting the passing of time
4.1.4. Sound
4.1.4.1. Jarring use of sound with the non-diagetic soundtrack frequently fragemented
4.1.4.1.1. Reminding the audience consistently to dissasociate their feelings from the film through making us aware of an edit
4.2. Tableaux 3: Nana goes to the cinema sequence
4.2.1. Cinematography
4.2.1.1. Lack of shot reverse shots in the sequence as nana watches Joan of Arc foregrounds film language by forcing an active spectatorship by linking Dreyers joan of arc to nana
4.2.2. Editing
4.2.2.1. Godard uses editing in the form of title cards which mirrors the use of intertitle cards in 1928 Passion of Joan of Arc
4.2.3. Sound
4.2.3.1. Godard cuts all sound in the cinema, even silent films like Passion of Joan of Arc would have had in-theatre sound, yet godard removes all sound
4.2.3.1.1. This forces the spectator to focus on the proceedings by thrusting them into an abnormal position
4.2.4. Performance
4.2.4.1. Nana appears emotional watching Joan of Arc, demonstrating a connection to film godard is trying to subvert, hence we are drawn into a position of judging nana's response and comparing it to our own in Vivre sa Vie
4.3. Titles and Tableaux One Sequence
4.3.1. Cinematography
4.3.1.1. Mid-shots of the back of Nana and her husband, defying film conventions in terms of how to shoot a conversation
4.3.1.1.1. Godard trying to hide the story rather than reveal it by making the characters seem more mysterious
4.3.1.2. Shots are framed to restrict sight of Nana's face, implies she can never fully be knowable mirroring the film
4.3.1.2.1. Defies convention of how to film conversations as none of the characters emotions are revealed
4.3.1.3. Shots of her staring at the camera in the title sequence are uncomfortably intimate
4.3.1.3.1. Posing rigid like a painting
4.3.1.4. Whole of Tableauz One is really just 2 shots
4.3.1.4.1. Defies the convention
4.3.2. Mise-En-Scene
4.3.2.1. Mirror above the counter gives the spectator a glimpse of Nana's face
4.3.2.2. After the opening the audience can see her full face in detail
4.3.2.2.1. Allows us to develop a connection, but also keeps us distant from the character
4.3.3. Editing
4.3.3.1. Godard praised editing in US films in Cahiers - Vivre Sa Vie he edits in the complete opposite style
4.3.3.2. Shot reverse shots throughout the conversation dispersed between long takes
4.3.3.2.1. He avoids fast paced editing despite praising Hollywoods style of contintuity editing and how it creates emotion
4.3.4. Sound
4.3.4.1. Dialogue introduces the films themes
4.3.4.2. Nana repeatedly states 'What do you care' presenting a conflict of interests between her and her husband
4.3.4.2.1. Later the philosophical quote 'the more we talk, the less words mean' echoes how language is insignificant
4.4. Nana Dances Sequence
4.4.1. Cinematography
4.4.1.1. Camera becomes more mobile as nana dances around the pool table
4.4.1.1.1. Almost as if the audience is released from the restrictive nature of the film experienced beforehand
4.4.1.2. The final shot of Nana embracing the pole acts as a visual metaphor for her position in reality, a prostitute
4.4.2. Mise-En-Scene
4.4.2.1. Pool Hall and Jukebox are popular american commodities
4.4.2.1.1. Godard wanted to pay homage to Hollywood film
4.4.3. Editing
4.4.3.1. One of the most energetic scenes developed through editing
4.4.3.1.1. We cut to a POV shot of nana as she is dancing and genuinley enjoying herself
4.4.4. Sound
4.4.4.1. Musical sequences are an example of Godard's auterial signatures
4.4.4.1.1. Narrative pauses allowing the character do indulge in a dance routine
4.4.5. UPDATED Performance
4.4.5.1. Anna Karina improvises her acting her, one of the key features of french new wave films
4.5. Tableaux 4 Interrogation Sequence Analysis
4.5.1. Cinematography
4.5.1.1. Framing makes it hard to place characters locations within the setting, subverting traditional forms of shooting a conversation
4.5.1.2. The spectator for most of the sequence is placed looking directly at nana, she proceeds to break the fourth wall mutliple times inferring we are the ones questioning and judging nanas actions
4.5.1.3. Distinct lack of fill light usage, but a back light is still used, shrouds nana in metaphorical secrecy, and reinforces the idea that she can never truely be known
4.5.2. Editing
4.5.2.1. Very long takes with a distinct lack of establishing shot, furthermore the actual event of nana stealing from the woman in question in this sequence is not shown on screen
4.5.2.1.1. Suggestive of Godards avoidance of major narrative events to avoid spectators distraction from the main philosophical goal of the film