Fashion Culture Essay 'Breathless'

Directed by:

Jean-Luc Godard 1960

Á BOUT DE SOUFFLE ‘BREATHLESS’

á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle á bout de souffle

FASHION CUTURE ESSAY NURIA PONS ROSSELLO BA (Hons) Fashion Marketing and Communication Level 6, 2018-2019

6FAMK003C

Maya McCarthty

1

Visual Arts

Wordcount: 3794

2

INDEX ESSAY 6-7

RESEARCH BOOK

Primary Research 10-31 -The Film -Film Innovation -Workshop

Concept Research 31-45 -Film Communication -Fashion Communication

Concept Development 47-55 -Contemporary Evidence

-Conclusive Key Photographi Images BIBLIOGRAPHY AND REFERENCES 56-61

3

4

Jean Luc Godard -

‘À bout de Souffle’ - ESSAY

ESSAY

5

-1960

Jean Luc Godard -

‘À bout de Souffle’ - ESSAY

-1960

EXISTENTIALISM ISSUES La Nouvelle Vague began with a group of 5 films makers who were critics for the cinematographic publication ‘Cahiers du Cinema’. They changed the traditional methods of what narratives and filming should be and instead they developed a unique style and narrative. Their main themes were philosophical which were associated with Jean Paul Sartre. He conceived the individual and emphasised the freedom of choice and the absence of rational understanding. Those debates and discussions illustrated in the films were shaping the viewer with a new mentality. Changes were occurring in the society that cause a complete shift on the traditional roles in families, cinema and social behaviours. It also had a political link.

The transcendental changes shaped cinema in a whole different dynamic, therefore this area will be conceptualised in the fashion editorial (CWK2). The concept or theme that will obtain more focus is the existentialism, which also includes absurdity, portrayed by the film director, Jean-Luc Godard.This idea is based on a philosophical movement focus on existence, the mystery of being and the alienation of personality. It also englobes absurdity as a common theme in many existentialist works. After analysing ‘ The French New Wave’ movement and Godard’s style of narrative and filming, it can be concluded that the director influences and personal thoughts on existentialism and absurdism of life can be clearly perceived in the film.

‘Breathless’ has a sense of conscious existentialism. The director, Jean-Luc Godard, might not have had those intentions in the first place, since François Trauffaunt wrote the script but Godard was changing it as he went along, hence there was no real thought process. The director emotions also influenced the process obtaining a bittersweet nostalgic feeling. What made the movie turn out that way was the spontaneity of the director and his auteurism. However, the film in itself shows some aspects of Existentialism Illustrated such as the Jump cuts.

To illustrate with the characters first, Michel is the absurd hero, a hopeful person who experiences life regardless of his undeniable mortality. He understands the meaningless existence. Referencing to the scene in which Michel does no scape from the police instead he accepts the deafest claiming that he wants to sleep. In this sequence he chooses to be aware and accept the burden of his past choices.

The relationship between the two complex characters is based on everyday life activities such as driving, walking around and resting in bed. In between those actions the individuals tend to have discussions about the meaning of life, death, love and grief, englobing existentialism thoughts and worries. As soon as the deliberations are over the characters start having intercourse or they keep on with their lives as if nothing ever happened. This juxtaposition not only just shows the meaningless debates within the characters, but statements about the absurdity of life without any philosophical intention.These conversation pose open questions that are not answer to expose triggering touch points to make the audience think. Furthermore, the drastic change in subject matter is another way of demonstrating the absurdity of life. It is needed to mention that absurdity is considered the need to seek the contrast or balance within two things; inherent value and meaning in life.

Some characteristics of absurdism are found in contemporary references. For instance, in an American TV show called ‘The Office’ that narrates the workplace of a 21st century office. The show is based in a ‘fictional documentary’ that criticises a corporation that values conformity over individuality. It is believed to be a deception of the modern office as an absurd environment. Socio-cultural issues are portrayed in their narratives making the characters seem somewhat socially incept for the ignorant jokes and disinterest.

In conclusion, the movie ‘Breathless’ is open to interpretation, it is aimless and spontaneous. The characters’ thoughts cannot be complete understood by the viewer since they do not expose them entirely and they stay as a mystery. However, the viewer is able to obtain some main personal characters of the individuals such as the independence and detachment Patricia or how sympathetically Michel actions are. In that sense, the audience can decide wether to take those existential questions and debates as a serious issues of that period that affected the characters’ life or as a meaningless dialogue between the characters to show their affection and openness with each other.

6

Jean Luc Godard -

‘À bout de Souffle’ - ESSAY

-1960

BIBLIOGRAPHY AND REFERENCES Anon, (n.d.). Quora. [online] Available at: https://www.quora.com/What-are-the-basic-concepts-ideas-of-existentialism [Accessed 21 Nov. 2018].

BrainyQuote. (n.d.). Jean-Luc Godard Quotes. [online] Available at: https://www.brainyquote.com/quotes/jeanluc_godard_108249 [Accessed 21 Nov. 2018].

En.wikipedia.org. (2018). Meaning of life. [online] Available at: https://en.wikipedia.org/wiki/Meaning_of_life [Accessed 21 Nov. 2018].

Oxfordbibliographies.com. (n.d.). Auteurism - Cinema and Media Studies - Oxford Bibliographies - obo. [online] Available at: http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0009.xml [Accessed 21 Nov. 2018].

Scholarlyrepository.miami.edu. (2008). University of Miami. [online] Available at: https://scholarlyrepository.miami.edu/ cgi/viewcontent.cgi?article=1129&context=oa_theses [Accessed 21 Nov. 2018].

Philosophy in Film. (2018). 10 Absurdist Films for Philosophy Students. [online] Available at: https://philosophyinfilm. com/2018/01/21/10-absurdist-films-for-philosophy-students/ [Accessed 21 Nov. 2018].

The-artifice.com. (n.d.). The French New Wave | The Artifice. [online] Available at: https://the-artifice.com/the-french-newwave/ [Accessed 21 Nov. 2018].

7

RESEARCH

BOOK

FRANCE 1960

‘A BOUT DE SOUFFLE’

Jean-Luc Godard

PRIMARY RESEARCH

THE FILM

Figure 1: (Jean-Paul Belmondo Jean Seberg, close up., n.d.)

INTRODUCTION Breathless, low-budget French movie from 1960, has been considered the pioneer of modern movies and the French New Wave. Directed by Jean-Luc Godard, characterised for his filming techniques and how the characters’s controversial lives are portrayed.

Jean-Paul Belmondo as Michel

PERSONAL SYNOPSIS Michel has committed a crime and the police is after him. The character develops a strong interest in an American student, Patricia, while he is refuging in Paris. Michel hides in her apartment and proposes her to escape to Italy together. However, Patricia finds out about his situation and exposes him to the police claiming that the reason was to realise wether she loved him or not. At first, Michel does not object and accepts life in prision. Although, when attempting to escape he receives a shoot from the police and dies in the street.

Jean Seberg as Patricia

10

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

Figure 3: Japan, 1960 (20th Century Fox)

This is the most used and known poster of the movie. It shows the aesthetic of the time with images in a collage. Both characters appear in the poster. Her face is showed up close while Michel is a running figure, it is not very descriptive. However, the character appears with a gun.

Published in Japan. The colours are warm and dark sending the viewer a gloomy and melancholic feeling. The picture of the characters is close and genuine, expressing emotions, especially Michel’s facial features.

Figure 4: Al final de la escapada. Barcelona, 1966.

Figure 5: fino all’ultimo respiro (Festival di Berlino 1960)

Painting by Esc. The posters from Barcelona shows the two character in bed while smoking a cigarette. Moreover, it shows some reviews translated from Spanish as ‘seven reasons to clap’.

This film poster is different from the others because it only shows one character, Michel. It is based in space which is a distinct setting from in the movie.

11

MOST DISTINCTIVE FILM POSTERS

Figure 2: Breathless Movie Poster, USA 1961

-1960

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

Figure 6: A BOUT DE SOUFFLE – French Poster by Clement Hurel Via

-1960

Figure 7: A BOUT DE SOUFFLE – Country: French, 1960.

MORE FILM POSTERS Figure 9: A BOUT DE SOUFFLE – Country: Finland1998.

Figure 8: A BOUT DE SOUFFLE – Country: Japan 1998.

12

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960

DIRECTOR Figure 10: Jean Luc Godard Tumblr Illustration by rougevie

Jean-Luc Godard was born in 1930 and moved back and fourth between Paris and Nyon. In his twenties, he obtained a position as critic in cinematographic French publications, where he would meet François Trauffaunt, the screenwriter of ‘Breathless’. Later, he directed his first documentary and short films which were critised by many for his cultivated experimental cinema. During 1959, he produced ‘Breathless’, which positioned him as a revolutionary.

The editing technique was momentous and would characterise him for life. Cuts, juxtaposition of images without any meaning or dialogs in form of poems or philosophy theories. Godard filming session were spontaneous and did not have any plot prepared. He took inspiration at the same moment. Therefore, all of his scenes and scenarios seemed genuine and casual.

The artist golden period was in between 1960 and 1967, starring the New Wave style. His work concentrated in expressing his thoughts in cultural issues and criticising traditional cinema. Some of his key films belonging to these period were; Breathless (1960); My Life to Live (1962) starring Anna Karina; Week-end, political film.

During the New Wave period his films were called his ‘Songs of Innocence’ which would take a shift after 1968 as ‘Songs of Experience. In those next decades, Godard experiment with political and collectivist works. Some of the most significant were; ‘Tout va bien (1972); Numéro deux (1975); Sauve qui peut (1980).

13

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960

LOCATION

Figure 11: Champs Elysees, Paris, 1960.

The influences of the directors, screenwriter, actors are clearly seen in the movie when it comes to the particular filming location. The whole story plot is based in France, mainly in Paris.

The first scene of the movie Michel is shown in Marseille and after he drives his way to Paris. In that shoot, Michel points out how beautiful is the French country. Following, the story develops in different parts of Paris.

The movie is based on cuts and editing style is fragmented the viewer’s main focus is Paris, the only solid image throughout the movie.

The first shoot is placed on the Champs-Élysées. Patricia is introduced selling The New York Herald Tribute.

After, Michel is found in Avenue George V. From there on, different Parisian location are shown. One of the main movie’s filming locations at nigh time in Boulevard du Montparnasse, where Ernest Hemingway appears as well. Also, towards the end of the movie a building is seen with lights saying ‘Michel Pioccard Arrest Immanent’.

The most intimate intimate filming location of the movie is with the two characters in bed in the ‘Hotel de Suede’. Where they deliberate about life, death, love and art. Thereby, the viewer obtains a closer experience of the characters’ minds.

14

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

Figure 12: Patricia and Michel in the Champs Elysees, Paris, 1960.

‘paris’

Figure 13: Michel in George V Avenue, Paris, 1960.

15

-1960

Figure 14: (Godard (right) with cast and crew filming in the Hotel de Suede, 1959)

Figure 15: Boulevard du Montparnasse, Paris. (1960).

Figure 16: (“Michel Pioccard Arrest Immanent.”, 1960)

17

SOUNDTRACK The soundtrack of the movie is a project collaboration with pianist Martial Solal and Godard. Solal is a French pianist and composer, known for his jazz influences.

The tracks were recorded in 1960, and gave him a huge success.The piece matches perfectly the aesthetic of the movie combing the rhythm of the music with the dramatism, weirdness and details of the movie.

Figure 17: À Bout the Souffle Original Sountrack imported ed. Remastered, n.d Figure 18: (Martial Solal - A bout de souffle. Colombia Records, 1960)

‘À bout de Souffle’ - PRIMARY RESEARCH

Jean Luc Godard -

JEAN-PAUL BELMONDO

-1960

Figure 19: À (Belmondo in Pierrot le Fou (1965).

The French actor Jean-Paul Belmondo (1933) can be considered the most iconic and charismatic, he gained his success after WW2. His years of splendour were during the French New Wave. He worked with the best directors of the era, Belmondo was found byGodard and gained the leading role in ‘Breathless’ and ‘À double tour’. After that, Belmondo was considered one of the most popular actors during the 60s.

CASTING

JEAN SEBERG Jean Seberg is an American actress born in 1938, but quickly moved to Paris where she died at the age of 40. Her first debut was in 1957 in a movie called ‘Saint Join’ as the main protagonist, following she appeared in ‘Breathless’, that positioned her as the best actress in Europe, according to François Trauffaut.

Figure 20: Jean Seberg in Bonjour Tristesse, 1954.

19

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960

UNDERSTANDING

Figure 21: (Student Involvement in the Peace Movement on the 1960s and 1970s).

1950s 1960s ‘Breathless’ was realised in 1960 but the filming started in 1958.Therefore, to gain a full understanding of the context both, 50s and 60s, should be taken into account.

The 50’s period was characterised for being Post-War. It had left the Europe divided and in a poorly economic situation. However, a few years later the rebuilding of Europe started, and the 50’s and 60’s were considered the economical ‘golden’ age of Western Europe. A reason was due to European countries’ trading policies and the food production and its quality. The growth helped to develop other industries such as technology and automobile.

The traditional family roles were emphasised, especially in the US, where having a perfect family and kids was the goal of life for many people,(‘baby boomers’).

The sixtes are described as the counterculture and revolution in social norms about clothing, music, drugs, art and sexuality. Also, a new political movement appeared called ‘New Left’, which was an intellectual activist movement by college students opposed to the military, the Vietnam War and claimed social and civil rights. They were the pioneers and first supporters of social movements of the period such as feminist, anti-Vietnam War, environmental or gay movements.

20

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

FILM INNOVATION FEMINISM The wave of feminism is portrayed in the movie in a french feminism style. In that sense the feminine characteristics are related to the French New Wave (more information below) and the juxtaposition with the average Hollywood movie of the same period.

With regard to Patricia, was not the average female role of the time due to her sense of independence and detachment.

Patricia was a student who was responsibly and willingly pursuing her career as journalist and keeps her goals in perspective. Additionally, she is sexually independent and emotionally intelligent. Apparently, she open ups to a co-worker discussing her thoughts and emotions in a very vague and unconnected way. This dialog gives us a sense of how she lives without being afraid of being by herself. At some points, Michel tries to kiss her under her dress without her permission but she stands for herself, slapping Michel on the face. She promotes self-love and self-respect, something that was not seen that often during that period.

Jean Seberg’s role is fascinating because her character is detached and selfish, as well as, Michel. Nevertheless, Patricia often uses despicable behaviour such as turning Michel to the police just to discover wether she loved him or not or claiming her probable uncertain pregnancy.

Figure 22:23 (Quotes À bout De Souffle, 1960).

Figure 24: (A Bout De Souffle Quotes by Infovisual, 1960).

-1960

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960

‘REBEL WITHOUT A CAUSE’ On the other hand, Michel was portrayed as the rebellious young men of the period. For instance, as James Dean in ‘Rebel Without a Cause’ (1955). They were fighting against society because of their dissatisfaction with it. Also, In ‘Bonnie and Clyde’ (1967) we can find references of Michel. It is believed that this movie brought the French New Wave to Hollywood.

Michel is a an influential twenty six years who loves movies and tries to inmate the actions and outfits he sees. His screen idol is Bogart and Michel tries to follow all the patterns such as smoking, the fedora, seductive facial expressions to the point that he practises in front of a mirror. He is as self-centred and selfish as Patricia. Michel basically uses Patricia’s love as a tool to escape from the policy without caring for her feelings. At points, despises her for being just an American and looks down on her. However, she does not seem affected for his behaviour because she acts as a femme fatale.

Figure 25: Michel lookig at movie posters of Bogart. (A Bout De Souffle, 1960).

Figure 29: Michel smoking (A Bout De

Figure 26-27: Michel and Patricia in a bathroom (A Bout De Souffle, 1960).

22

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960 Figure 28: Patricia’s dialog.(A Bout De Souffle, 1960).

Souffle, 1960).

Figure 30: Portrait of Mick Jagger taken in the 1960s in National Portrait Gallery.

POSTMODERNISM The Postmodernist movement was centred in the ‘youth culture’. Music was the main player with new styles appearing (rock and pop). Music brought people together and created cultural trends such as the use of drugs (LSD) , fan mania with The Beatles and The Rolling Stones. Simultaneously, artist who broke the rules were started to gain recognition thanks to their experimentation. Pop art, with artist such as Andy Warhol and Roy Lichtenstein mixing ‘high’ art and ‘low’ culture, to abolish social classes and protest again the traditional rules.

Also, the raising of the black artist Jean-Michel Basquiat marked a new era for black art.

‘Untitled’ set a new record for an artist at auction, selling for $110,500,000.

Figure 31: Basquiat, J. (1960). Untitled. [Oil stick and Spray paint] Figure 31: Tseng Kwong Chi/Muna Tseng Dance Projects, New York & Eric Firestone Gallery, East Hampton. Jean-Michel Basquiat in his Great Jones Street studio, New York, 1987

24

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960

ART REFERENCES

Figure 34: In the bathroom were juxtaposed a Picasso from 1954 and a 1770s’ Fragonard

Figure 33: Michel/Belmondo is reading that week’s issue of the journal Paris Flirt - issue 137, dated 12 September 1959. The image on the cover is a ‘pin-up’ drawing by Bernard Charoy.

Figure 35: Picasso, Jacqueline avec des fleurs, 1954

Figure 37: Picasso, L’Ancienne Année, 1953

Figure 36: Fragonard, La Lettre, 1773

Figure 38: Picasso, Les Amants, 1923

atricia has an amount of posters of different artworks from avant-garde in her apartment. She is worried on how she is perceived by others. In this part, Patricia asks Michel is the is prettier than the girl portrayed in Renoir’s painting called ‘Mademoiselle Irène Cahen d’Anvers’.

Figure 39: Renoir’s Mlle. Irène Cahen d’Anvers: one of the many art prints in Patricia’s apartment.

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960

‘nOUVELLE VAGUE’ FRENCH NEW WAVE

Figure 40: Filming crew of French New Wave. 1959

The movement was characterised for their filming techniques, low budgets, narrative freedom, the soundtrack and taking the director as the main piece of the puzzle. Shaky hands held-cameras, long shots, existential and philosophical thoughts and dialogs. The directors also used latest technical equipment of the time to experiment in their filming using documentary techniques, portable microphones to record the actual sound of the place.

During the same period of time, a now concept

appeared in France called Nouvelle Vague. which invention has to be granted to François Truffant who in 1954 wrote the theoretical base of the most important cinematographic style of the time. André Bazin created a publication ‘Cahier du Cinema’ which was used as a tool to criticise and debate new trends and style in the cinematographic world. Gordard also took part in this lead. Their main aim was to praise the authors as the creators of the piece and recognise their individuality and stand against commercial cinema. They wanted to define new rules and abolish audience expectations for typical American films.

The French New Wave quickly influenced countries such as U.K and later the ‘New Holywood’’ with directors like Quentin Tarantino or Francis Ford Coppola. In the 70’s Tarantino referenced his movie ‘Pulp Fiction’ to the direction of Godard in ‘Breathless’ using American culture and melancholy feelings.

26

‘À bout de Souffle’ - PRIMARY RESEARCH

Jean Luc Godard -

-1960

MOST IMPORTANT DIRECTORS Jean-Luc Godard François Truffaut Claude Chabrol Jacques Rivette Énric Rohmer Louis Malle Jacques Demy

Figure 41: Hiroshima Mon Amour, Alain Resnais 1959

Figure 42: Breathless Jean-Luc Godard 1960

Figure 43: Les Bonnes Femmes Claude Chabrol 1960

FILMS

Figure 44: Shoot the piano player Françouis Truffaut 1960

Figure 47: Le Mémpris Jean-Luc Godard 1963

Figure 45: Lola Jacques Demy 1961

Figure 48: Le Genou de Claire Enric Rohmer 1970

Figure 46: Adieu Philippind Jacques Rozier 1962

Figure 49: Céline & Julie vont en beateau, Enric Rohmer 1974

Figuere 50: (Jean-Luc Godard Retrospective / Breathless / Les carabiniers / Contempt / Le Petit Soldat / Pierrot le Fou / A Woman Is a Woma, n.d.)

Jean-Luc Godard created masterpieces during the New Wave period. He

influenced many directors of the following years with his ideals. Some of his movie were censored in some countries due to its controversy. He laughed at the film business in Le Mépris, corrupted the musical in Une Femme est une femme, questioned marriage in Une Femme mariée.The heretical method of Godard was reflecting in his editing as well. In Breathless he used for the first time jump cuts.

The movie duration was two-hours-and-a-half long but he cut it down to ninety minutes. The importance of the cuts was the in between scenes and conversations without irrationally. The rules of continuity were broke as well by disorienting the viewer with different angles. The most stable element perceived in the movie was the city of Paris.

Godard’s themes were based in breaking the rules of traditional cinema and about autorism. He also touched the absurdity of life and existentialism. Furthermore, the Franco-American controversy and differences. In addition, Godard appears in the movie as the man reading a newspaper who recognises Patricia and Michel and warns the police.

28

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960

‘Breathless’ is a timeless movie, still remains relevant through the time. It might be caused to its aesthetics or the fact that the viewer cannot anticipate the events of the plot. The narrative flies with the artist’s mind, no coherence. It is not about the plot, it is about the ideas, as Godard claimed.

Figure 51: Seberg and Belmondo with, right, Jean-Luc Godard RAYMOND CAUCHETIER, COURTESY OF JAMES HYMAN GALLERY

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

-1960

WORKSHOP

‘1950-1960’

Figure 52: The indelible image of Marilyn Monroe smiling as her skirt blows up from the gust of a New York subway vent during the filming of The Seven Year Itch. (1954)

30

Jean Luc Godard -

‘À bout de Souffle’ - PRIMARY RESEARCH

‘Post-modernism’

-1960

‘FRENCH NEW WAVE’

Figure 53: Pablo Picasso artwork.

Working with abstraction and cubism on of the basic concepts of post-modernism art and avantguarde.

Figure 54: `Cashiers Du Cinéma’ a cinematographic french publication in which the screen writers of the French New Wave expressed their critics and views.

‘fRANCO-AMERICAN’

‘EXISTENTIALISM’

Figure 55: Franco-American cultural conflicts and change of roles. In the past, the french was considered desireble and seductive, meanwhile in the movie, Godard tries to portay how america has taken the role of ‘cultural seducer’ with Patricia and the way Michel mocks American people but still admires the movies.

Figure 56: In the movie, discussion about the meaning of life, love, death and grief ocurr often. Some of those subjects take form of existentialism.

‘MASCULIN-FEMININE’

‘JEAN-LUC GODARD’

Figure 57: ‘Masculin Féminin’ (1966) is a French New Wave movie by Jean-Luc Godard. A time capsule stuffed with ideas about politics, pop culture, and the battle of the sexes,

Figure 58: Jean-Luc Godard demostrating his pure talent while he is directing, filming and smoking.

31

FILM COMMUNICATION CONCEPT RESEARCH

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

-1960

The filming technique of ‘Breathless’ breaks the rules in many ways. The director is not trying to make the continuity of the film, but the editing technique puts the viewer in place on how to follow the story-plot and makes it unpredictable. The viewer feels closer to the characters through the jump cuts, long takes, close-ups and handheld portable cameras. The lighting of the movie is natural, always filming on natural settings instead of a studio. There are no colour meaning since the movie is in black and white The most common angles and shots on the movie will be analysed followed by more unique and characteristics of filming.

CAMERA ANGLES EYE LEVEL The camera is directed face-to-face to increase objetivism.

LOW ANGLE The camera is positioned in a lower angle which makes the subject powerful. In the movie, it is used to follow from the front the actor’s way.

HIGH ANGLE The camera looks down on the subject. In this case, it shows a secretive interaction in between to two characters and it makes the viewer feel like the scene is more private and something they should not watch.

DUTCH ANGLE It is an oblique and unbalanced angle, it is used to provoke tension or uneasiness. In this case, it is not a clear dutch angle so it might not have been intentionally but still achieved its aim.

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

OVER THE SHOULDER Taken from the shoulder perspective. This angle is where the characters are in the car and sometimes the shot moves towards the road to show the landscape. Mainly, because the camera man was sitting on the backseat.

SHOT SIZES CLOSE UP

EXTREME CLOSE UP

MEDIUM SHOT

POV

-1960

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

MOST CHARACTERISTIC FILMING TECHNIQUES

Jumpcuts This editing technique is seen since the second scene of the movie until the end. Senseless, time difference, cuts in the middle of conversations.

In that scene, Michel is driving a car, change of shot, another car appears, change of shot, another car appears.

In another scene, in which Michel and Patricia are in the car driving. Michel is saying how he loves her and the shot changes and the viewer can see that is a different street than the one they were a second ago, the position of Patricia’s head is different and the lighting also changes.

Lighting Godard’s filming team does not spend a long time setting up lights and shots, instead he orders his cow to rediscover the simplicity of it. Breathless in a black and white movie and it is not film in a studio but rather with natural light. The director also uses this technique to simulate the passing of time or the end of a day.

35

-1960

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

-1960

Tracking shoot The camera moves around and finishes focusing in one point or person. The director uses this technique numerous times across the movie, hence the viewer obtains an almost 360 degrees experience of the atmosphere and it is easier to imagine the scenario and drown into the play.

External people across the shoot

*All the displayed figures of the film communication were taken from the original movie as a ‘screenshot’.

36

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

SYMBOLOGY

LIP GESTURE

Figure 59: Throughout the movie Michel touches his lips immitating his idol Bogart and annoucing that he is a though guy.

Figure 60: Final scene in which Michel dies, Patricia imitates Michel’s Bogart gesture.

NARCISSIM

Figure 61: The two characters look at themselves in Figure 62: Patricia looking at her self in the mirror the mirror a few times during the movie showing in a store’s window. how much they care about their looks. In this figure, Michel is in a lover’s aparment.

37

-1960

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

AMERICAN IDOLS

Figure 63: . Michel identifies with the heroes of the American movies, he wants to speak, dress and act the same way.

Figure 64: . Michel looking at a picture of Humphrey Bogart.

PATRICIA’S INTERESTS

Figure 65: Patricia is a journalist student and during the film she does some references to literature. (Ropars Wuilleumier considers her therefore as the very embodiment of logocentrism). She seems to be defined by elements of high culture.

Figure 66: Patricia’s apartment walls are covered with poster reproductions of modern paintings, she listens to classical music. Her taste is not common which makes her unconvencional.

38

-1960

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

-1960

FASHION COMMUNICATION STYLE

Jean-Luc Godard was known for his creative freedom. Clearly reflected on the styling of the film, there are no credits for a costume designer which means it was the actors who choose their looks and probably wore the same clothes they own.

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

patricia Patricia´s style is effortles, chic and natural.

Her first appearance is with the ‘New Time Herald’ uniform where she combined a white t-shirt with black plaided pants and flat shoes. She carried the newspaper as clutch.

She appears with black cat eye sunglasses and cat eye sunglasses. The most iconic Jean’s look is a stripped blue dress with the ‘New Look’ silhouette. Her haircut 4is short and delicate giving Patricia a tomboy style.

All her looks portray the 1950’s style at its best. The most iconic was the ‘New Look’ by Christian Dior. However, in the movie Patricia does not seem to wear an original Dior dress, although she is asks Michel to buy her a Dior’s dress. During that period, curves were popular, a clear example is Merely Monroe as well as petite and thin women such as Seberg or Hepburn

Figure 68: Patricia in a ‘New Look’ striped blue dress.

Figure 67: Patricia in her New York Herald Tribute uniform.

-1960

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

-1960

Figure 69: Patricia sitting in a cafe with her signature cat eye glasses and eyeliner.

Figure 70: Patricia in Michel’s hat.

Figure 71: Patricia in a striped t-shirt.

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

1950s FASHION

-1960

Figure 73: Audrey Hepburn in a New Look Chritian Dior dress, 1955.

Figure 72: Audrey Hepburn in a striped t-shirt in 1950.

Figure 75: Chanel’s 1950s fashion.

Figure 74: Cristobal Balenciaga’s 1950s fashion

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

-1960

Figure 76: Brigitte Bardot in a striped t-shirt and a hat in the 50’s.

1950s HAIR

Figure 77: Twiggy’s hairstyle in the 60s. This is ahead in time but we can see the same tomboy short style.

Figure 78: Marilyn Monroe in The Seven Year Itch, 1955

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

-1960

MICHEL Michel has been considered an style icon for his carefree looks and out of place looks.

He cares about his looks to the point that he uses a newspaper to shine his shoes. This action symbolises his disinterested in the world. In his fist appearance he is wearing an over-sized tweed jacket, in the summer time. In the city, he is seen with a stupid blue shirt, a short checked tie and an unfitted oversized coat which is considered short in the 1960’s. The shirt has a sport collar and it is not meant to be worn with a tie.

Below the waist, his attire is conventional, dark trousers with two back pockets and leather shoes. His white socks give a touch of craziness to the outfit.

Michel usually wears a hat and dark sunglasses, even indoors, in imitation of his American idols.

Figure 79: Michel wearing a sportcoat, striped shirt and short tie.

Figure 80: Michel wearing a hat in bed.

Figure 81: Michel is the type of guy who reverently takes off his sunglasses in honor of a photo of Humphrey Bogart but leaves them on when kissing his girlfriend

44

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT RESEARCH

1950s FASHION

-1960

Figure 83: Humphrey Bogart. Michel’s idol. Michel copies his sunglasses and hat look.

Figure 82: James Dean Style. We can perceive some similarities with Michel in the baggy clothes, the cigarette and the dark sunglasses.

However, Michel’s style has more european influences, such as elegance and italian tailoring.

Figure 84: How young men dressed in the 50’s.

45

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT DEVELOPMENT

-1960

CONTEMPORARY EVIDENCE CONCEPT DEVELOPMENT

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT DEVELOPMENT

in FASHION

-1960

Figure 85: Gigi Hadid appeares in a Stuart Weitzam advertising campagin with a 60’s vibe characterizing Jean Seberg in ‘Breathless’.

Figure 86: Pierre et Gilles, Portrait of Jean Paul Gaultier 1990, painted photograph, 112.0x92.0cm, private collection, Pari

Figure 87: Following with Jean Paul Gaultier, his signature look has always been stripes referencing to the iconic french style.

Figure 89: Kate Moss in a striped t-shirt.

Figure 88: Patricia’s uniform on sale in the New York Times website.

47

‘À bout de Souffle’ - CONCEPT DEVELOPMENT

Jean Luc Godard -

Figure 90: Saint Laurent by Hedi Slimane Fall 2015, Menswear.

in ART

Figure 92: Pablo Picasso always use to wear a striped blue t-shirt.

Figure 91: Comme de Garçon Play t-shirt. This is the iconic item of the brand.

-1960

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT DEVELOPMENT

in MUSIC

-1960

Figure 92: Kurt Cobain, member of Nirvana.

Figure 93: Harry Styles, member of One Direction in 2015.

49

Jean Luc Godard -

‘À bout de Souffle’ - CONCEPT DEVELOPMENT

in TV & CINEMA

Figure 95: Godard’s documentary with Ana Karina shows a poster and some pictures of Breahtless. ‘Godard, L’amour, La poesie’ (2017)

Figure 96: Portlandia’ Season 3 (2013) Carrie recalls complimenting Alexandra on a shirt Carrie thinks is modeled after Jean Seberg’s ensemble in JeanLuc Godard’s French new Wave film, “Breathless”.

Figure 97: ‘Paris 60’(2012) is a french fictional documentary that resembles ‘Breathless’ in the characters, the scenes and the way of filming and editing.

50

-1960

Conclusive Key Photographic Images

Shots&angles

Celebrating Paris

Sequences and Jumpcuts

Personal portraits 55

BIBLIOGRAPHY AND REFERENCING Figure 1: Jean-Paul BelmondoJean Seberg, close up. (n.d.). [image] Available at: https://player.bfi.org.uk/sites/default/files/styles/landscape_1200x675/public/hero-images/bout-de-souffle-player-1920x1080.jpg?itok=mX-SHI6I [Accessed 7 Nov. 2018].

Figure 2: IMDb (2018). Breathless Movie Poster, USA 1961. [image] Available at: https://www.imdb.com/title/tt0053472/ [Accessed 7 Nov. 2018].

Figure 3: 20th Century Fox.1960. (2018). [image] Available at: https://www.limitedruns.com/original/movie-posters/crime/breathless-8/ [Accessed 7 Nov. 2018].

Figure 4: IMDb (1966). Cartel Barcelona. [image] Available at: https://www.imdb.com/title/tt0053472/mediaviewer/rm353914112 [Accessed 7 Nov. 2018].

Figure 5: IMDb (n.d.). festival di berlino 1960. [image] Available at: https://m.media-amazon.com/images/M/MV5BNmI4ZjFjOGMtYmI1NC00MjA4LThhOWEtM2RmOTRmZDUwYjUzXkEyXkFqcGdeQXVyMjgyNjk3MzE@._V1_.jpg [Accessed 7 Nov. 2018].

Figure 6: FlashBack (2018). A BOUT DE SOUFFLE – French Poster by Clement Hurel Via Carteles Peliculas. [image] Available at: https://flashbak.com/brilliant-behind-scenes-photos-bout-de-souffle-breathless-391826/a-bout-de-souffle-french-poster-by-clement-hurel-via-carteles-peliculas/ [Accessed 7 Nov. 2018]. figure 7: Poster France 1960. (1960). [image] Available at: https://www.filmaffinity.com/ec/filmimages.php?movie_id=864598 [Accessed 7 Nov. 2018].

Figure 8: Japan, 1998. (1998). [image] Available at: Poster France 1960. (1960). [image] Available at: https://www.filmaffinity.com/ec/filmimages.php?movie_id=864598 [Accessed 7 Nov. 2018]. [Accessed 7 Nov. 2018].

Figure 9: BREATHLESS (A BOUT DE SOUFFLE), Finland. (1964). [image] Available at: https://filmartgallery.com/products/breathless-a-bout-de-souffle-5582 [Accessed 7 Nov. 2018].

Figure 10: Jean Luc Godard Tumblr Illustration. (2013). [image] Available at: http://talkingtokafka.tumblr.com/post/51955328578 [Accessed 7 Nov. 2018].

Figure 11: Arc de Tripmh, Movie Breathless Shot. 1960. (1960). [image] Available at: https://www.bfi.org.uk/sites/bfi.org.uk/files/styles/full/public/image/ breathless-1960-018-arc-de-triomphe.jpg?itok=N8KMzKl- [Accessed 9 Nov. 2018].

Figure 12: Patricia and Michel in the Champs Elysees, Paris. (1960). [image] Available at: https://www.bfi.org.uk/news-opinion/news-bfi/features/breathlessbout-souffle-jean-luc-godard-locations [Accessed 9 Nov. 2018].

Figure 13: Michel in George V Avenue, Paris. (1960). [image] Available at: https://www.bfi.org.uk/news-opinion/news-bfi/features/breathless-bout-soufflejean-luc-godard-locations [Accessed 9 Nov. 2018].

Figure 14: Godard (right) with cast and crew filming in the Hotel de Suede. (1959). [image] Available at: https://www.bfi.org.uk/news-opinion/news-bfi/ features/breathless-bout-souffle-jean-luc-godard-locations [Accessed 9 Nov. 2018].

Figure 15: Boulevard du Montparnasse. (1960). [image] Available at: https://www.bfi.org.uk/news-opinion/news-bfi/features/breathless-bout-souffle-jeanluc-godard-locations [Accessed 9 Nov. 2018].

Figure 16: “Michel Pioccard Arrest Immanent.”. (1960). [image] Available at: https://www.bfi.org.uk/news-opinion/news-bfi/features/breathlessbout-souffle-jean-luc-godard-locations [Accessed 9 Nov. 2018].

Figure 17: À Bout de Souffle Breathless Original Soundtrack Imported ed. Remastered. (n.d.). [image] Available at: https://www.amazon.com/Bout-Souffle-Breathless-Original-Soundtrack/dp/B000069LE7 [Accessed 10 Nov. 2018].

Figure 18: Martial Solal - A bout de souffle. Colombia Records. (2018). [image] Available at: https://ring.cdandlp.com/rockinronnie/photo_ grande/115062521.jpg [Accessed 10 Nov. 2018].

56

Figure 19: Belmondo in Pierrot le Fou (1965). (1965). [image] Available at: http://images6.fanpop.com/image/photos/40900000/tumblr-n5kz3rRaz71skvtt7o1-500-jean-paul-belmondo-40927621-500-297.gif [Accessed 10 Nov. 2018].

Figure 20: How Jean Seberg Made Cinematic History in Bonjour Tristesse. (n.d.). [image] Available at: http://www.anothermag.com/art-photography/10969/ how-jean-seberg-made-cinematic-history-in-bonjour-tristesse [Accessed 10 Nov. 2018].

Figure 21: Student Involvement in the Peace Movement on the 1960′s/70′s. (n.d.). [image] Available at: https://gdblogs.shu.ac.uk/b2000984/wp-content/ uploads/sites/11/2015/02/no_war.jpg [Accessed 12 Nov. 2018].

Figure 22- 23: Quotes about Souffle. (n.d.). [image] Available at: http://www.quotemaster.org/Souffle [Accessed 13 Nov. 2018].

Figure 24: A Bout De Souffle Quotes by Infovisual. (1960). [image] Available at: http://www.infovisual.co/a-bout-de-souffle-quotes.html [Accessed 13 Nov. 2018].

Figure 25: THE FILM SUFI DEVOTED TO THE DISCUSSION OF FILM EXPRESSION (n.d.). http://www.filmsufi.com/2015/09/breathless-jean-luc-godard-1960.html. [image] Available at: http://www.filmsufi.com/2015/09/breathless-jean-luc-godard-1960.html [Accessed 13 Nov. 2018].

Figure 26- 27: Sixties Quotes. (n.d.). [image] Available at: https://hiveminer.com/User/sixtiesstills/Recent [Accessed 13 Nov. 2018].

Figure 28: Jean-Luc Godard, 1960’s Breathless (À bout de souffle) French Film. (2018). [image] Available at: https://www.pinterest.es/ pin/60165344991952787/ [Accessed 13 Nov. 2018].

Figure 29: Adventures of an Anti-Hero. (1961). [image] Available at: https://newrepublic.com/article/125 007/adventures-anti-hero [Accessed 13 Nov. 2018].

Figure 30: MICK JAGGER: YOUNG IN THE 60S. (2018). [image] Available at: http://www.mickjagger.com/news/mick-jagger-young-in-the-60s [Accessed 13 Nov. 2018].

Figure 31: Basquiat, J. (1960). Untitled. [Oil stick and Spray paint] New York.

Figure 32: Jean-Michel Basquiat in his Great Jones Street studio, New York, 1987. (n.d.). [image] Available at: https://www.nybooks.com/daily/2016/09/03/ last-time-i-saw-jean-michel-basquiat/ [Accessed 13 Nov. 2018].

Figure 33: Bernard Charoy: Les Pin Up Des Sixties. (n.d.). [image] Available at: https://www.thecinetourist.net/a-bout-de-souffle-footnotes-to-the-film. html# [Accessed 13 Nov. 2018].

Figure 34- 35- 36- 37- 38 A bout de souffle - footnotes to the film. (n.d.). [image] Available at: https://www.thecinetourist.net/a-bout-de-souffle-footnotes-to-the-film.html# [Accessed 13 Nov. 2018].

Figure 39: Imitation and Masquerade in Breathless. (2013). [image] Available at: https://madeleineproject.wordpress.com/2013/09/18/imitation-and-masquerade-in-breathless/ [Accessed 13 Nov. 2018].

Figure 40: French New Wave Filming. (1959). [image] Available at: https://thefilmstage.com/features/the-classroom-french-new-wave-the-influencing-ofthe-influencers/ [Accessed 13 Nov. 2018].

Figure 41: Hiroshima mon amour 1959. (1959). [image] Available at: https://www.cinematerial.com/movies/hiroshima-mon-amour-i52893 [Accessed 13 Nov. 2018].

Figure 42: Breathless 1960. (2018). [image] Available at: http://filmmonitor.tumblr.com/post/8909323590/breathless-designed-by-rodarte-its-poster [Accessed 13 Nov. 2018].

57

Figure 43: Les Bonnes Femmes. (1960). [image] Available at: https://en.wikipedia.org/wiki/Les_Bonnes_Femmes#/media/File:Les-bonnes-femmes.jpg [Accessed 13 Nov. 2018].

Figure 44: Shoot the piano player. (1960). [image] Available at: https://www.imdb.com/title/tt0054389/ [Accessed 13 Nov. 2018].

Figure 45: Lola. (1961). [image] Available at: https://www.imdb.com/title/tt0055093/mediaviewer/rm1352535808 [Accessed 13 Nov. 2018].

Figure 46: Adieu Philippine. (1962). [image] Available at: https://en.wikipedia.org/wiki/Adieu_Philippine [Accessed 13 Nov. 2018].

Figure 47: Le Mépris. (1963). [image] Available at: https://www.imdb.com/title/tt0057345/mediaviewer/rm3761029376 [Accessed 13 Nov. 2018].

Figure 48: Le genou de Claire. (1970). [image] Available at: https://www.imdb.com/title/tt0065772/ [Accessed 13 Nov. 2018].

Figure 49: Céline et Julie vont en bateau: Phantom Ladies Over Paris. (1974). [image] Available at: https://www.imdb.com/title/tt0071381/ [Accessed 13 Nov. 2018].

Figure 50: Jean-Luc Godard Retrospective / Breathless / Les carabiniers / Contempt / Le Petit Soldat / Pierrot le Fou / A Woman Is a Woma. (n.d.). [image] Available at: https://posteritati.com/poster/43826/jeanluc-godard-retrospective-breathless-les-carabiniers-contempt-le-petit-soldat-pierrot-lefou-a-woman-is-a-woman-2005-french-petite-poster [Accessed 13 Nov. 2018].

Figure 51: Raymond Cauchetier’s 1959 photographs taken during the filming of Jean-Luc Godard’s À Bout de Souffle. (1959). [image] Available at: https:// www.thetimes.co.uk/article/breathless-in-paris-9gbg80qfwwq [Accessed 13 Nov. 2018].

Figure 52: Marilyn Monroe. (1954). [image] Available at: https://allthatsinteresting.com/iconic-photographs-1950s [Accessed 21 Nov. 2018].

Figure 53: Picasso, Jacqueline avec des fleurs, 1954. (n.d.). [image] Available at: https://www.thecinetourist.net/a-bout-de-souffle-footnotes-to-the-film.html [Accessed 19 Nov. 2018].

Figure 54: Cahiers du Cinéma. (1959). [image] Available at: https://theculturetrip.com/europe/france/articles/the-french-new-wave-revolutionising-cinema/ [Accessed 19 Nov. 2018].

Figure 55: Breathless Movie scene. (1959). [image] Available at: https://hiveminer.com/User/sixtiesstills/Recent [Accessed 19 Nov. 2018].

Figure 56: Breathless Movie Scene. (1960). [image] Available at: http://rebloggy.com/quotes+Jean-Paul+Sartre+jena+paul+sartre/search/bestmatch/page/9 [Accessed 19 Nov. 2018].

Figure 57: Kennedy, R., Kennedy, R. and profile, V. (2018). Masculine Feminine (in 15 Acts) (Masculin Féminin: 15 faits précis). [online] Cranesareflying1. blogspot.com. Available at: http://cranesareflying1.blogspot.com/2015/02/masculine-feminine-in-15-acts-masculin.html [Accessed 21 Nov. 2018].

Figure 58: Het leven volgens Jean-Luc Godard. (n.d.). [image] Available at: http://cine.nl/leven-volgens-jean-luc-godard/ [Accessed 21 Nov. 2018].

Figure 59: Jean-Luc Godard, À Bout de Souffle / Breathless (1960) Norman N. Holland. (1960). [image] Available at: http://www.asharperfocus.com/Breathless.html [Accessed 20 Nov. 2018].

Figure 60: LA FIN D’A BOUT DE SOUFFLE. (1960). [image] Available at: https://www.arte.tv/sites/olivierpere/2014/01/14/a-bout-de-souffle-de-jean-lucgodard-entretien-avec-pierre-rissient/aboutdesouffle6/ [Accessed 20 Nov. 2018].

Figure 61: Breathless Mirror Scene. (1960). [image] Available at: http://www.marthapnochimson.com/includes/popup.php?imgFile=france_07&filmName=Breathless&caption=Michel%20Poiccard%20(Jean%20Paul%20Belmondo)%20plays%20with%20two%20mirrors%20in%20the%20bedroom%20of%20a%20young%20woman%20from%20whom%20he%20has%20come%20to%20borrow%20money.%20 [Accessed 20 Nov. 2018].

58

Figure 62: “Tensional Differences”: The Anxiety of Re-Mediation in Jean-Luc Godard’s New Wave Films. (1960). [image] Available at: https://www.closeupfilmcentre.com/vertigo_magazine/issue-30-spring-2012-godard-is/tensional-differences/ [Accessed 20 Nov. 2018].

Figure 63: Richard Brody, The Harder They Fall. (2018). [image] Available at: https://www.newyorker.com/culture/richard-brody/the-harder-they-fall-2 [Accessed 20 Nov. 2018].

Figure 64: Belmondo in Breathless: Camelhair Jacket in Paris. (1960). [image] Available at: https://bamfstyle.com/2017/06/12/breathless-belmondo-2/ [Accessed 20 Nov. 2018].

Figure 65: Breathless Quote. (1960). [image] Available at: https://www.tumblr.com/privacy/consent?redirect=http%3A%2F%2Fmudwerks.tumblr.com%2Fpost%2F21726128998 [Accessed 20 Nov. 2018].

Figure 66: Renoir Painting appearing in Breathless. (1960). [image] Available at: https://plus.google.com/103954878114755205391 [Accessed 20 Nov. 2018].

Figure 67: Jean Seberg Leaves Us Breathless. (1960). [image] Available at: https://www.fillesgarcons.com/fif/2014/4/7/jean-seberg-leaves-us-breathless [Accessed 20 Nov. 2018].

Figure 68: Patricia Stripped dress. (1960). [image] Available at: https://www.fillesgarcons.com/fif/2014/4/7/jean-seberg-leaves-us-breathless [Accessed 20 Nov. 2018].

Figure 69: Patricia sitting in a cafe. (1960). [image] Available at: https://thethreadbandit.files.wordpress.com/2012/02/breathless4.jpg [Accessed 20 Nov. 2018].

Figure 70: Patricia in Michel’s hat. (1960). [image] Available at: https://rudighedini.wordpress.com/2014/02/12/meteore-100-jean-seberg-fine/ [Accessed 20 Nov. 2018].

Figure 71: Brilliant Behind the Scenes Photos of A Bout de Souffle (Breathless). (2018). [image] Available at: https://flashbak.com/brilliant-behind-scenesphotos-bout-de-souffle-breathless-391826/ [Accessed 20 Nov. 2018].

Figure 72: Audrey in a striped t-shirt in 1950. (1950). [image] Available at: https://www.pinterest.es/pin/506373551835520309/?lp=true [Accessed 20 Nov. 2018].

Figure 73: Audrey Hepburn for Miss Dior (1955). (2018). [image] Available at: https://zsazsabellagio.tumblr.com/post/98280542818/brunchatbergdorfs-audrey-hepburn-for-miss-dior [Accessed 20 Nov. 2018].

Figure 74: Cristobal Balenciaga’s 1950s fashion. (n.d.). [image] Available at: https://www.marieclaire.co.uk/fashion/1950s-fashion-icons-fifties-style-moments-in-pictures-81397 [Accessed 20 Nov. 2018].

Figure 75: Chanel 1950s fashion. (n.d.). [image] Available at: https://www.marieclaire.co.uk/fashion/1950s-fashion-icons-fifties-style-moments-in-pictures-81397 [Accessed 20 Nov. 2018].

Figure 76: Style Icon: Brigitte Bardot. (n.d.). [image] Available at: https://blog.freepeople.com/2012/08/style-icon-brigitte-bardot/ [Accessed 20 Nov. 2018].

Figure 77: Getty Images, Twiggy. (n.d.). [image] Available at: https://www.wmagazine.com/gallery/twiggy-hair-makeup [Accessed 20 Nov. 2018].

Figure 78: Marilyn Monroe was famous for her interpretation of this look (as in The Seven Year Itch). (2018). [image] Available at: http://www.glamamor.com/2012/12/the-hair-style-file-elizabeth-taylor.html [Accessed 20 Nov. 2018].

59

Figure 79: Belmondo in Breathless: Camelhair Jacket in Paris. (n.d.). [image] Available at: https://bamfstyle.com/2017/06/12/breathless-belmondo-2/ [Accessed 20 Nov. 2018].

Figure 80: Belmondo in Breathless: Camelhair Jacket in Paris. (n.d.). [image] Available at: https://bamfstyle.com/2017/06/12/breathless-belmondo-2/ [Accessed 20 Nov. 2018].

Figure 81: Belmondo in Breathless: Camelhair Jacket in Paris. (n.d.). [image] Available at: https://bamfstyle.com/2017/06/12/breathless-belmondo-2/ [Accessed 20 Nov. 2018].

Figure 82: James Dean Style. (2018). [image] Available at: https://www.edgystl.com/the-icon-james-dean-about-life-cars-and-style/ [Accessed 20 Nov. 2018].

Figure 83: Humphrey Bogart. (2018). [image] Available at: https://academiaparaninfo.wordpress.com/2013/12/18/humphrey-bogart-biography-famous-people-in-english-personajes-famosos-en-ingles/ [Accessed 20 Nov. 2018].

Figure 84: 1950s Mens Fashion Style Guide – A Trip Back In Time. (n.d.). [image] Available at: http://nextluxury.com/mens-style-and-fashion/1950s-mensfashion-style-guide/ [Accessed 20 Nov. 2018].

Figure 85: Gigi Hadid channels Twiggy for her latest campaign. We’re feeling this look on you, Gi. (n.d.). [image] Available at: https://www.glamourmagazine.co.uk/gallery/gigi-hadid-stuart-weitzman-autumn-winter-2017-campaign [Accessed 20 Nov. 2018].

Figure 86: Jean Paul Gaultier and the true history of the fashion stripe. (2014). [image] Available at: http://theconversation.com/jean-paul-gaultier-and-thetrue-history-of-the-fashion-stripe-32806 [Accessed 20 Nov. 2018].

Figure 87: Jean Paul Gaultier and the true history of the fashion stripe. (2014). [image] Available at: http://theconversation.com/jean-paul-gaultier-and-thetrue-history-of-the-fashion-stripe-32806 [Accessed 20 Nov. 2018].

Figure 88: NY TIMES. (2018). [image] Available at: https://store.nytimes.com/products/herald-tribune-t-shirt [Accessed 20 Nov. 2018].

Figure 89: Kate Moss. (2018). [image] Available at: https://www.pinterest.es/pin/522276888013096094/ [Accessed 20 Nov. 2018].

Figure 90: Saint Laurent Fall 2015. (2015). [image] Available at: https://www.vogue.com/fashion-shows/fall-2015-menswear/saint-laurent/slideshow/collection#11 [Accessed 20 Nov. 2018].

Figure 91: COMME DES GARÇONS PLAY. (2018). [image] Available at: https://www.farfetch.com/es/shopping/men/comme-des-garcons-play-camisetacon-estampado-a-rayas-bretonas-item-11982385.aspx [Accessed 20 Nov. 2018].

Figure 92: Pablo Picasso. (n.d.). [image] Available at: http://www.bbc.com/culture/story/20160309-the-ultimate-symbol-of-french-cool [Accessed 20 Nov. 2018].

Figure 93: Kurt Cobain. (n.d.). [image] Available at: http://wheretoget.it/look/1119098 [Accessed 20 Nov. 2018].

Figure 94: Harry Styles. (n.d.). [image] Available at: http://www.whats-he-wearing.com/2013/11/harry-styless-striped-saint-laurent.html [Accessed 20 Nov. 2018].

Figure 95: Godard: Love and Poetry. (2007). [image] Available at: https://www.filmaffinity.com/en/film261378.html [Accessed 21 Nov. 2018].

Figure 96: ‘Portlandia’ Season 3: Chloe Sevigny shines in the season’s best episode so far. (2013). [image] Available at: https://www.oregonlive.com/movies/2013/02/portlandia_season_3_chloe_sevi.html [Accessed 21 Nov. 2018].

60

L’ Amour, l. (n.d.). Breathless (A Bout de Souffle) - Martial Solal | Songs, Reviews, Credits | AllMusic. [online] AllMusic. Available at: https:// www.allmusic.com/album/breathless-a-bout-de-souffle-mw0000593217 [Accessed 21 Nov. 2018].

BAMF Style. (n.d.). Belmondo in Breathless: Camelhair Jacket in Paris. [online] Available at: https://bamfstyle.com/2017/06/12/breathless-belmondo-2/#more-18244 [Accessed 21 Nov. 2018].

British Film Institute. (n.d.). Light of day: Raoul Coutard on shooting film for Jean-Luc Godard | Sight & Sound. [online] Available at: https:// www.bfi.org.uk/news-opinion/sight-sound-magazine/features/raoul-coutard-shooting-film-jean-luc-godard [Accessed 21 Nov. 2018].

British Film Institute. (2018). Jean-Luc Godard: 10 essential post-new wave films. [online] Available at: https://www.bfi.org.uk/news-opinion/ news-bfi/lists/jean-luc-godard-10-essential-post-new-wave-films [Accessed 21 Nov. 2018].

Closeupfilmcentre.com. (n.d.). VERTIGO | “Tensional Differences”: The Anxiety of Re-Mediation in Jean-Luc Godard’s New Wave Films. [online] Available at: https://www.closeupfilmcentre.com/vertigo_magazine/issue-30-spring-2012-godard-is/tensional-differences/ [Accessed 21 Nov. 2018].

Catalogo.artium.org. (n.d.). - Jean-Luc Godard | ARTIUM - Biblioteca y Centro de Documentación. [online] Available at: http://catalogo.artium. org/dossieres/5/jean-luc-godard [Accessed 21 Nov. 2018].

Closeupfilmcentre.com. (n.d.). VERTIGO | “Tensional Differences”: The Anxiety of Re-Mediation in Jean-Luc Godard’s New Wave Films. [online] Available at: https://www.closeupfilmcentre.com/vertigo_magazine/issue-30-spring-2012-godard-is/tensional-differences/ [Accessed 21 Nov. 2018].

Coates, K. (n.d.). French New Wave: The Influencing of the Influencers. [online] The Film Stage. Available at: https://thefilmstage.com/features/ the-classroom-french-new-wave-the-influencing-of-the-influencers/ [Accessed 21 Nov. 2018].

En.wikipedia.org. (n.d.). New Left. [online] Available at: https://en.wikipedia.org/wiki/New_Left#Hippies_and_Yippies [Accessed 21 Nov. 2018].

European Union. (n.d.). The history of the European Union - 1961. [online] Available at: https://europa.eu/european-union/about-eu/history/1960-1969/1961_en [Accessed 21 Nov. 2018].

French, P. (2018). Film: 50 years of Jean‑Luc Godard’s Breathless. [online] the Guardian. Available at: https://www.theguardian.com/film/2010/ jun/06/film-jean-luc-godard-breathless-feature-philip-french-french-new-wave [Accessed 21 Nov. 2018].

Fujishima, K., Cole, J., Cole, J., Cole, J., Rodrigues, M. and Cinquemani, S. (n.d.). The Philosopher and the Fan: Jean-Luc Godard and Quentin Tarantino—1st Installment | The House Next Door | Slant Magazine. [online] Slant Magazine. Available at: https://www.slantmagazine.com/ house/article/the-philosopher-and-the-fan-jean-luc-godard-and-quentin-tarantino-1st-installment [Accessed 21 Nov. 2018].

Guide, F. (n.d.). French cinema : a student’s guide : Powrie, Phil : Free Download, Borrow, and Streaming : Internet Archive. [online] Internet Archive. Available at: https://archive.org/details/French_Cinema_A_Students_Guide/page/n193 [Accessed 21 Nov. 2018].

Newwavefilm.com. (n.d.). JEAN-LUC GODARD - French New Wave Director. [online] Available at: http://www.newwavefilm.com/ french-new-wave-encyclopedia/jean-luc-godard.shtml [Accessed 21 Nov. 2018].

Pov.imv.au.dk. (n.d.). Five explanations for the jump cuts.... [online] Available at: https://pov.imv.au.dk/Issue_06/section_1/artc10.html [Accessed 21 Nov. 2018].

Scott, A. (n.d.). A Fresh Look Back at Jean-Luc Godard’s ‘Breathless’. [online] Nytimes.com. Available at: https://www.nytimes.com/2010/05/23/ movies/23scott.html [Accessed 21 Nov. 2018].

The Cinephiliac. (n.d.). My Affinity for Jean-Luc Godard and Breathless (1960). And Ramblings on Feminism.. [online] Available at: https://thecinephiliac.com/2014/01/07/my-affinity-for-jean-luc-godard-and-breathless-1960-and-ramblings-on-feminism/ [Accessed 21 Nov. 2018].

The Cine-Tourist. (n.d.). A bout de souffle: footnotes to the film. [online] Available at: https://www.thecinetourist.net/a-bout-de-souffle-footnotes-to-the-film.html# [Accessed 21 Nov. 2018].

ThoughtCo. (n.d.). 1960s Feminism: What the Movement Accomplished. [online] Available at: https://www.thoughtco.com/1960s-feminist-activities-3529000 [Accessed 21 Nov. 2018].

TV Tropes. (n.d.). French New Wave / Useful Notes - TV Tropes. [online] Available at: https://tvtropes.org/pmwiki/pmwiki.php/UsefulNotes/ FrenchNewWave [Accessed 21 Nov. 2018].

Vice. (n.d.). ¿Por qué Jean-Luc Godard es tan importante para el cine?. [online] Available at: https://www.vice.com/es_latam/article/gymypx/creators-por-que-jean-luc-godard-es-tan-importante-para-el-cine [Accessed 21 Nov. 2018].

61