Analysis Of The Film Contempt By Jean Luc Godard
Table of Contents
Analyse of Sequence
Photography and Staging
The Dialogue’s Content
The Scene in Position
Two problems are addressed in the film. First, the problem of film making. The second concern the problems that couples face and the dissolutions of marriages. Godard is one of the most prominent directors of La Nouvelle Vague (French new wave) and this is because of several reasons.
He is among the most productive directors of the new wave
He is one of the most adventurous directors in new wave, trying out new genres and new techniques.
He is the most verbal or theoretical of all the interviewers, writing provocations and giving interviews about his views on the cinema.
Analyzing a Sequence.
We notice that the credits were spoken not written. This unusual practice is important in feature film because it draws attention to the activities involved. George Delerue composed and recorded the music. Raoul Coutard was the DOP.
This is a great example of Godard’s innovative approach to Cinema, which stresses questioning all conventions. First, we see part of Cinecitta in Rome, the most well-known studio in the world. It was established by Mousseline in late 1930s. Directors like Rossellini or Fellini made their debuts there.
Camera Techniques and Staging The film often uses a tracking shot technique, which the camera appears to be on tracks. The actual camera is still in static mode, but the subject is moving in and we see a slight tilting upwards. Raoul Coutard (the famous cinematographer of films like Breathless & Jules) is simultaneously rolling the camera towards Jim, checking the light stage and while we listen to Andre Bazin’s famous line “le cinema substituta notre regardun monde qui s’accorda nos desire” as he says: “Le cinéma substituta our regard un monde qui… This Bazin quotation proves to be as fascinating and important as its claims.
Cinema is all about desires
This film is about that world, the world that cinema has to offer and its connection with the world that desires.
Jean luc Godard makes reference to our desire as spectators. This prepares for the sequence, which will include a bedroom with a nudity. Technically, we can see the bedroom scene being framed and the camera angle as the camera in the next sequence. The film’s main characters, Paul and Camille are introduced by Brigitte Barrot. The dialogue begins in the middle with Camille responding to a question.
Content of the DialogThe two motionless lovers are seen mingling, shopping for more trivialities while making strangely passionate declarations about their love. Ezekiel’s bones approach toward female nakedness sends an unintentional message to producers and spectators. It is worth mentioning here that this scene was added after pressure from the producers who wanted to see more nudity from B.B So, this shot come to satisfy the desire mentioned in the Bazin quotation at the beginning, and Godard gives in to the pressure from the producers and it was the first time in his career but he did it in a way that undercuts the producers’ intensions/expectations. This means that Godard makes Bardot look less alive than she is in real life.
ColorsGodard applies a filter to make an image appear red, white, or blue. It also uses the symbolic references of the colors.
Both the symbolic and literal parts of the colors are based on the colors used in American flags. It draws attention to the joint production, or the two countries involved in production represented by Carlo Pointi from France and Joseph Levin from America. These tensions are a result of such coproduction. More on the story colors. Red is associated as passion and want. The film also shows the elements of passion in cinema and in life.
The Scene’s Positioning
The camera movement is what we notice. We can see the slightest or most slow movements of the camera.
Next we meet Prokosh as Jack Palance plays him. Georgia Moll plays Francisca as Francisca as Georgia Moll is his secretary. Francesca tells us that Prokosh had fired all employees before we meet him. The film is void of any cinematic activity. We are taken to Prokosh, the producer. He is shown to us in a long, lateral track shot to the right-left. His theatrical voice exclaims that ONLY YESTERDAY THEY WERE KINDS HERE.