Naslov
Cinematic Cities: Paris in the Early Films of Jean-Luc Godard

Autori
Šišak, Marina

Vrsta, podvrsta i kategorija rada
Ocjenski radovi, diplomski rad, diplomski

Mjesto
St Andrews ; Perpignan

Datum
19.10

Godina
2009

Stranica
89

Mentor
Hugueny-Léger, Élise ; Cases, Isabelle

Ključne riječi
film studies ; documentary ; intertextuality ; cinematic cities ; Paris on film ; Godard

Sažetak
The present work examines the role of cities in cinema and the ways of analysing them. It examines their convergences and explores their different aspects. It brings together Henri Lefebvre’s theory of urban space of and Gilles Deleuze’s film theory and argues that similarities of real and cinematic cities lay in their dependence on the dimensions of time and movement and in the fact that they are both products and producers of space/reality. These theories are used in the analysis of representations of Paris in Godard’s early phase: A bout de souffle (1960), Vivre sa vie (1962), Alphaville (1965) and Deux ou trois choses que je sais d’elle (1967). It is argued that these cinematic cities are firmly based in reality, by including procedures used in documentary films. However, they also transgress it, by emphasising their invented and intertextual side. Moreover, the formal analysis of these cities proves their significant differences, connected with historical and social turbulences of French society in the 60s, as well as with the profound transformation in Paris architecture and city planning. They are also induced by important changes in French cinema, in particular by the New Wave movement. Consequently, Godard’s attitudes towards cinema and directors (the auteur policy) and towards popular and classical culture significantly change, which can be seen in the shift of these cinematic cities from beautiful to repulsive, from personal to historical and from influencing the characters to absorbing them. The city’s importance in the narrative also grows with these changes. Nevertheless, the analysis shows Godard’s continuity and persistence in an always subversive response to society and a highly individual approach to cinema. The latter is mostly expressed in Godard’s preoccupation with creating art that would change/produce society, in which these cinematic cities prove to succeed.

Izvorni jezik
Engleski

Znanstvena područja
Interdisciplinarne humanističke znanosti, Filmska umjetnost (filmske, elektroničke i medijske umjetnosti pokretnih slika)

POVEZANOST RADA