Fashion in Cinema Research Book for "Breathless"

Fashion in Cinema

Breathless

Fashion Culture Essay Laura Harada Planas 6FAMK003C CWK1 BA (Hons) Fashion Marketing and Communication, Level 6 2017-2018 Teacher: Maya McCarthy

“à bout de souffle”

TABLE OF CONTENTS Essay Research Book

Part l: Primary Research ...............................................

The Film ..................................................................

Understanding Film Innovation ..............................

Workshop................................................................

Part ll: Concept Research...............................................

Understanding Film Communication........................

Understanding Fashion Communication..................

Part lll: Concept Development .......................................

Contemporary Evidence .........................................

Conclusive Key Photographic Images ....................

Essay

Fashion Culture Essay

F.1 Jean Seberg and Jean-Luc Godard in the set of “Breathless”.

Breathless-French New Wave-Fashion Editorial

“à bout de souffle”

“French New Wave: an artistic school” Laura Harada

Upon deep examination of the concepts related to “Breathless” (1960), the chosen theme to be developed in the CWK2 Fashion Editorial is the French New Wave. Although it is a wide and extensive concept, only certain elements will be taken into consideration in order to achieve the desired aesthetic and narrative in the editorial. Furthermore, specific examples and references will be mentioned in order to clearly illustrate the artistic vision of the project.

The French New Wave was an artistic cinematic movement consisting of a group of French directors, who originated as critics and academics in the publication, “Cahiers du Cinema”. For the group of cinephiles, primarily consisting of Francois Truffaut, Jean-Luc Godard, Claude Chabrol, Éric Rohmer and Jacques Rivette, the pilar of their whole initiative was the auteur theory. Developed by André Bazin, auteurism acknowledge film as any other art form where the role of the director/creator is essential to the development of the film, given that he is the artist who’s vision is implanted in the visual piece (Parnell,2016). This imprint of the author’s vision and ideals attribute a personal and transcendental quality.

Parting from this guiding principle, the group of directors started to experiment and improvise techniques in order produce their own films written and directed by them. Due to scarcity of funds they recurred to friends and colleagues to be part of the staff, and shoot in free outdoor locations and in interiors owned by acquaintances. Jean-Luc Godard, one of the key figures of the movement, adopted a “no rules” philosophy when it came to the methods used in order to obtain an image. As a result of this, Godard’s innovative jump-cuts and unrestrained narrative in “Breathless”, broke with the canons of traditional filmmaking. The unstable pulse of the camera and low-quality of the image, is not considered distasteful but rather realistic and nostalgic.

Deeply cultured and inspired by neorealism, existentialism, poetic realism, and classic Hollywood; French New Wave directors where able to make references from cinema and art that served as symbols to transmit their ideals and stir questions in the viewer’s mind about their own existence.

The juxtaposition of elements as statements such as opposing colors, ideas, subjects, emotions add excitement to the final image. For example, Jean-Luc Godard’s “Le Mepris” and “Pierrot le Fou” showcase a extraordinary colour palette consisting of complimentary saturated hues essential to the iconicity of the film. Furthermore, Rohmer as well as Godard, often address the themes of complex relationships and deep dialogue in order to understand human nature and using references to construct a complete yet abstract landscape.

Inspired by Post-Modern illumination in terms of narrative, the editorial will serve as the author’s personal visual art book. Several elements such as the setting will appear contrasting to the typical setting from French New Wave movies, but will display however other characteristics that have affinity with the concept. “Breathless”’s actor Jean Paul Belmondo appears in “A Man from Rio” (1964) bringing to the screen the collision between French and South American charms through an avid use of colour and outstanding film shots. In addition to this, “Black Orpheus” (1959) directed by Marcel Camus features the same story from Jean Cocteau’s “Orphée”, only that it is set in Brazil.

Essay

However, the collision of both cultural scenarios are narrated through poetic realism in a beautiful manner. Destined to be shot in a tropical country in a 1950s city sector, the photographs will feature a high contrast of colour followed by black and white with a vintage grained aesthetic to evoke nostalgia.

Subjects will be simple and mundane, but will be captured with a romantic lens stressing the subject’s incompatibility with its exterior by means disjunctive composition. Juxtaposition and the complexity of human characters throughout time and the world is a major area of interest seeking to understand what happens outside as opposed to what happens inside people. In conclusion, the French Wave has inspired present and future generations to create art with the resources available in hand. The essential role of the artist’s vision and cultural sufficiency will determine the beauty and enigma of the story being narrated.

References

Essay

C Evans, G. (2009). The French Nouvelle Vague (New Wave). [online] Filmeducation. org. Available at: http://www.filmeducation.org/pdf/resources/secondary/FrenchNouvelleVague.pdf [Accessed 16 Nov. 2018].

Hitchman, S. (2008). French New Wave History. [online] Newwavefilm.com. Available at: http://www.newwavefilm.com/about/history-of-french-new-wave.shtml [Accessed 19 Nov. 2018].

Marshall, C. (2016). An Introduction to Jean-Luc Godard’s Innovative Filmmaking Through Five Video Essays. [online] Open Culture. Available at: http://www. openculture.com/2016/12/an-introduction-to-jean-luc-godards-innovative-filmmaking-through-five-video-essays.html [Accessed 20 Nov. 2018].

Parnell, L. (2016). The French New Wave: Revolutionising Cinema. [online] Culture Trip. Available at: https://theculturetrip.com/europe/france/articles/ the-french-new-wave-revolutionising-cinema/ [Accessed 17 Nov. 2018].

Powrie, P. (2002). 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/n17 [Accessed 19 Nov. 2018].

Renèe (2015). What Jean-Luc Godard’s ‘Breathless’ Can Teach You About Indie Filmmaking. [online] No Film School. Available at: https://nofilmschool.com/2015/05/whatjean-luc-godards-breathless-can-teach-you-about-filmmaking [Accessed 18 Nov. 2018].

Research Book

F.2 Michel and Patricia in Hotel Suede.

PART l: PRIMARY RESEARCH

The Film

INTRODUCTION

“Breathless”, originally À bout de souffle, was Jean-Luc Godard’s debut film and one of the Nouvelle Vague’s most icoic pictures . It is a crime/drama love story revolving around a care-free criminal portrayed by Jean Paul Belmondo and his American love interest played by Jean Seberg. Released in 1960, “Breathless” introduced an iconic visual style which would continue to push and inspire the boundaries of cinematic style. The film is of utter significance because it manifested the Godard’s auteurism, a spontaneous non-linear narrative, and an avant-garde visual style through the use of jump-cuts. The epitome of personal and B-cinema, “Breathless”’s seismic effect echos to modern day image making.

SYNOPSIS Michel Poiccard (Jean-Paul Belmondo) is a young and wild delinquent, who steals cars to resell them in Paris. Upon stealing a car in Marseille, Michel drives through the country road and is detained by a policeman whom he shoots dead. In attempt to elude from the authorities, Michel goes to Paris seeking refugee and money aid from old connections in order to properly escape. Among the various acquaintances Michel contacts, is Patricia Franchini (Jean Seberg) an aspiring American journalist working for the New York Herald Tribune in Paris and Michel’s past lover. Unaware of the previous happenings, Patricia hides Michel in her apartment while F.3 Jean Paul Belmondo and Jean Seberg in À bout he telephones to ask for a loan, and simultaneously, attempts to seduce Patricia and de souffle, 1960. persuade her to flee to Italy together. Perplexed by her mixed feelings of distrust and attraction towards Michel, they initiate a love affair but is abruptly terminated when Patricia turns him over to the police shortly after discovering his true identity and the murder he was involved in. She confesses to her betrayal and Michel faces his fate and is eventually killed in the street by the police, dying “Breathless”.

POSTERS

Although, each poster has its own colour scheme, style, and typography, certain elements are present in most of the posters from the movie.

Such elements include vibrant hues of primary colours contrasted by a black and white image of Michel and Patricia caressing or talking, signalling a love story in the film’s plot, juxtaposed by Michel’s running dying figure which indicates the fatality in the story. The duality and multiple genres inter-crossed in “Breathless” allow for different approaches in the visual communication for the film. Just as it is romantic, it is tragic, dramatic, criminal, and satiric.

Probably, the most iconic poster for “Breathless”. This visual art traces back to the original release and is also the cover for the soundtrack.

Illustrative art proper of the 50’s advertisement and Classic Hollywood film posters, Patricia’s suspicious and doubtful expression captures here general attitude throughout the film and the indifference to her betrayal leading to Michel’s death. The font is jazzy and playful capturing the excitement and absurdity present in the general mood.

F.4 “Breathless” original poster, 1960.

F.5 (left) and 6 (right). French release posters. These two similar posters feature simple black and white images of the two lovers kissing, contrasted by the use of vibrant colours for the red title (left) and blue credits (right). The right poster is less emotional and resembles a news paper feature , while the other is a tender and bittersweet approach resembling a soft jazz cover played during intimate gatherings.

F. 7 Spanish release for remasterized version in DVD. Once again a high contrast between the photograph and the background and title.

F.8 Italian release poster. Combination of the posters above with newspaper style and romantic focus.

F.9 Breathless 50th anniversary for the digitally restored version.

The main art for the movie’s 50th anniversary shows a close-up of both characters. The quote of “I want all or nothing” by Michel to Patricia comes to mind when this image. The result is nostalgic as it is modern After a retrovision of the director’s visual aesthetic, audiences easily identify the iconic film with the director and French New wave films, transmitting visually that the movie has in fact passed on to become a cult and an icon.

F.10 Breathless restored version.

F.12 Breathless japanese poster

F.11 50th Anniversary restored version.

F.14 Italian poster 1959.

F.13 Minimalistic and monochromatic cover for the Criterion Collection’s Breathless DVD with movie fanatics.

F.15 Jean-Luc Godard (1960).

JEAN-LUC GODARD Jean-Luc Godard French Swiss director who came into notice as one of the pioneers of the French New Wave during the late 50s and 60s. He had his origins as a film critic in the “Cahiers du Cinéma” alongside Francois Truffaut, Jacques Rivette and Eric Rohmer, where his passion for cinema was predominantly with a critical focus and encouraged experimentation over “Tradition of Quality”. His works transmit his extensive knowledge of film history through references, personal political views, Gallic existentialism, Marxist and Maoist philosophy, and the montage of juxtapositioned ideas. Breathless (1960) initiated a continuation of 15 masterpieces throughout the 60s (until 1967) all of which beared his signature and recurringly personal themes. “He is the most autobiographical of auteurs, whose pictures are littered with references to films, books, compositions and paintings, as well as the people, places and political ideals that have shaped his personality and psyche” (Parkinson, 2018).

“Photography is truth. The cinema is truth twenty-four times per second.”

16.“Breathless” (1960)

19.“The Little Soldier” (1963)

22. “Band of Outsiders” (1964)

17.“Pierrot le Fou” (1965)

20. “A Woman is a Woman” (1961)

23. “My Life to Live” (1962)

18.“Contempt” (1963)

21. “Alphaville” (1965)

24. “La Chinoise” (1967)

25. “Pierrot le Fou” poster (1965).

26. Anna Karina in “Pierrot le Fou”, 1965

Pierrot le Fou

27. Karina and Belmondo in the set of “Pierrot le Fou”, 1965

Released 5 years after Breathless’60, Jean Paul Belmondo played Pierrot opposite to Anna Karina in Pierrot le Fou’65. This is one of his most iconic roles as he restablished himself as an icon of the French Cinema playing, what many have stated to be, a continuation of the criminal on the run persona of Michel Poiccard. Several elements are present in the reincarnation of this character such as the toughness and lit cigarette, living dangerously, runaway love, irrational behaviour, and tragic destiny. .

28. Scene from “Pierrot le Fou” directed by Jean-Luc Godard.

Director’s inspiration and themes “It’s very good to steal things. Bertolt Brecht said art is made from plagiarism” Jean-Luc Godard

Godard’s extensive knowledge of cinema led to the diverse use of numerous cinematic influences in his work and writing, which he later on developed into his own distinctive style.

Many critics agree that his early period was “an intertextual deconstruction of popular American genre films” (Gamble, 2018). Such is the case of “Breathless” with the abundant cinematic references.

“It’s not where you take things from, it’s where you take them to”

Man with a Movie Camera (1929) by Dziga Vertov.

29. Scene from “Man with a Movie Camara”, 1929

30. “La Chinoise” (1967)

This silent documentary film influenced his late works such as “La Chinoise”, focusing more on his strong political views, Marxist theories, and Maoist ideals.

Orphée (1950) by Jean Cocteau

32.“Alphaville” (1965) Admired by Godard, “Alphaville” (1965) and “Orphée” (based on the myth Orpheus) feature the protagonists’s use of poetry to defeat their enemies, communicating that art awakens change.

31. “Orphee” (1950), Jean Cocteau Johnny Guitar (1954) by Nicholas Ray 34. Belmondo in “Pierrot le Fou”

Several of Godard’s movies, “Le Mépris” (1963) and “Pierrot le Fou” (1965), make references to Ray’s movies and the use of colour palettes.

35. Bridgette Bardot in “Le Mepris” (1963)

33. Johnny Guitar (1954)

Street of Shame (1956) by Kenji Mizoguchi

36. “Street of Fame”1956) 37. Anna Karina in “Vivre sa Vie” (1962) “Vivre sa Vie” (1962) has a similar subject matter, such as political issues and the difficulties of women in modern society.

Forty Guns (1957) Samuel Fuller

F.38 Filter frame comparison of “Breathless”’60 and “Forty Guns”’57 Raw cinemtaic style and keen dialogue where adopted from Fuller. The reference of the rifle-frame close-up to Michel and Eve Brent.

Pickpocket (1959) by Robert Bresson

F.39 Scenes from “Pickpocket” (1959) and “Le petit Soldat” (1960).

Filmed simultaneausly in Paris, “Pickpocket” and “Breathless”, share Parisian scenarios and protagonists posing open metaphors about life and society. Inspired “Le Petit Soldat” (1960).

A Godard film usually includes

The complex relations between lovers Crime and murder as a gateway to doom Sexual and powerful women Philosophical and political ideals Gender roles and human behaviour Realistic issues and truthful emotions

FILM LOCATION Compromising financial and aesthetic reasons, unlike Hollywood pictures, Breathless was shot on location rather than in a film studio.

Raoul Coutard, the cinematographer, made use of portable cameras to obtain interesting angles from compact angles of the Paris centre.

The movie is entirely filmed in Paris, except for the opening scene, which took place in Port of Marseille and the RN 7 from August 17 to September 15 of 1959.

F.40 Vieux Port, Marseille, Bouches-du-RhĂ´ne, France

F.41 RN7 Highway to Paris

F.42 Les Rives de Notre Dame, 15 quai St Michel

F.43 Arc de Triomphe

F.44 George V metro station, Paris 8, Paris, France

F. 45 Avenue des Champs-Élysées, Paris 8, Paris, France

F.46 Hotel de Suede, Paris

F.47 Le Cosmos - 101 Boulevard du Montparnasse, Paris 6, Paris, France

F. 48 La Rotonde - 105 Boulevard du Montparnasse, Paris 6, Paris, Franc

F.49 Rue Campagne Premiere, Paris

SOUNDTRACK

F.50 Original soundtrack for Breathess The musical score for the picture was composed by Martial Solal, a French composer and jazz pianist.The original score consists of 11 jazz tracks encoded in Solal’s musical style which features an intuitive approach to improvisation and a conversational embodiment between the instruments of each song. Having been the pianist at the St Germain des Prés jazz club, Godard’s offer was wildly out of his comfort zone, but somehow Solal’s sotrytelling through improvisation and complete musical freedom related to the guiding principle of the movement itself (Fordham, 2010).

Hand-in-hand, the music sets the dynamic rhythm and emphasises important details of the plot.

1.

La mort/2:09 2. Duo/2:24 3.

New York Herald Tribune/1:29 4. Poursuite/2:14 5.

L’Amour, la mort/2:06 6. Dixieland/2:42 7.

Thème d’amour/ 1:33 8.

La mort (2)/1:56 9.

Poursuite (2)/2:22 10. Champagne-Première/1:57 11. À bout de souffle/4:09

Piano/Lead: Martial Solal Drums: Daniel Humair Saxophone: Pierre Gossez Trumpet: Roger Guerin Bass: Paul Rovere Vibes: Michel Hausser

LEADING MAN Jean-Paul Belmondo Michel Poiccard / Laszlo Kovacs Jean Paul Belmondo was born in 1933 in Neuilly-sur-Seine, France and had his initial success with Breathless in 1960 portraying the character of Michel Poiccard. From then on, he became an instant sensation and a key persona of the French New Wave. He is one of Godard’s main leading stars, having appeared in several of his films such as A Woman is a Woman (1961) and Pierrot le Fou (1965).

LEADING LADY Jean Seberg Patricia Franchini Jean Seberg was an American actress born in Iowa in 1938 who went on to live her adult life in France. Upon launching her acting career in two unsuccessful features, Saint Joan (1957) and Bonjour Tristesse (1958), she was reborn as an actress and obtained international acclaim after her role as Patricia Franchini in Breathless. She appeared in over 30 movies throughout her life and was involved in anti-war politics in the late sixties. She died at 40 years old in Paris for mysterious reasons.

F.51 Jean Paul Belmondo photo by Lucienne Chevert.

F.52 Jean Seberg in the 60’s

F.53 Une Femme Est une Femme (A Woman Is a Woman), circa 1960.

Understanding film innovation

Breathless is a 1960 French New Wave crime drama film in Paris by Jean-Luc Godard.

EXPLORING THE DECADE 1944-50 During the German occupation, Paris was a gloomy and repressed city. The only distraction for Parisians was the cinema, which was censored and limited by the Nazis.

For the generation born in the 1930s cinema was their passion and their escape from the crude reality, having grown up in the rich cinematic culture, this prohibition was deeply devastating. After France was liberated, the 1946 Blum-Byrnes agreement was signed all American products (specially movies) drastically entered the French market.

F. 54 German propaganda in France

F.55 American GI’s entering Paris 1944.

The newfound liberation inspired free self-expression and communication, which led to open discussions and reviews. As a result of this, journals and film clubs where created where writers and cinephiles such as Andre Bazin could formulate their theories and manifest film culture. The article “Birth of a New Avant-Garde: The Camera as a Pen” stated that cinema was the director’s personal work just as a novel is to an author, this central idea lead to the development of the “auteur theory” known to be the guiding principle for the French New Wave.

F.56 Egalité! Liberté! Sexualité!: Paris, May 1968

F.57 Cahier du Cinema issue from the 50’s.

However, aside from the major pictures coming in from Hollywood, the contemporary French cinema had settled into uncritical satisfaction. These french films treated war and resistance themes in a romantic way which stirred dishonesty among Frenchmen who had suffered the harsh and true reality of what was being portrayed on screen. Others genres were equally disappointing, as they portrayed a modern idealistic society which was monotonous and uninspiring, failing to capture the zeitgeist of the moment.

In 1951, Andre Bazin founded Les Cahiers du Cinema, a journal featuring critical articles about films. This was were the young critics: Eric Rohmer, Jean-Luc Godard, Jacques Rivette, Claude Chabrol and Francois Truffaut entered the field. They all shared a contempt for “Tradition de Qualité” which dominated French Cinema at that time by adapting safe literary works into unimaginative films and through studio montaged productions, also known as “Le Cinema de Papá”.

F.58 Andre Bazin.

F.59 Francois Truffaut and Alfred Hitchcock

F.60 Crew filming Truffaut’s Braisers VolÊs (Stolen Kisses), circa 1968.

Inspired by Italian neorealism, Film noir, Silent films, Classic Hollywood, Poetic realism, Auteur theory, Parisian cinephile culture, Existentialism, Alfred Hitchcock art film.

Admired directors D.W. Griffith, Victor Sjostrom, Buster Keaton, Charlie Chaplin, Erich von Stroheim Ernst Lubitsch, Fritz Lang and F.W. Murnau Roberto Rossellini and Vittorio de Sica Orson Welles, Joseph L. Mankiewicz and Nicholas Ray Alfred Hitchcock and Howard Hawks

1958 Birth of the New Wave The artistic movement confined of the group of french film critics turned film directors who captured the zeitgeist of the time and employed the auteur theory and camera stylo. The label originated from a sociological survey targeted to the youth of France whose findings showed that cinema was their second top priority and where published under “The New Wave: Portraits of Youth”.

New technological developments resulted in more accessibility to film equipments which facilitated the production of footage by newcomers. Light handheld cameras and portable sound and light apparatuses enabled the mobility and independence of producing films on location at a faster pace and lower budgets.

Key Figures André Bazin Francois Truffaut Jean-Luc Godard Èric Rohmer Jacques Demy Alain Resnais Agnès Varda Claude Chabrol Jacques Rivette

Elements The director is the author, including art director and scriptwriter.

No pre-established shooting guide.

Natural lighting and locations.

Compact crew and cast, based on friends and rising actors.

Low budgets.

Exploration of contemporary themes and issues.

Documentary style.

Free and unrestrained narrative.

Improvisation and experimental techniques.

“No rules” philosophy.

Existential themes.

Innovative Techniques

In filming

Alternative framing , Natural Lighting , Self referencing , No tripod use and reportage style, collaboration with cinematographers

In video editing

Jump Cuts , Rapid Framing , Long takes , Discontinued shots , Flash Pans.

In sound

modern music (such as jazz), interior monologues, commentaries, low fidelity sound for authenticity, post synchronisation.

In storytelling

references to other works of art, ambiguous questions, objective realism, authorial commentary, existential and humanistic themes, individualistic character.

More New Wave Films

61.“Les 400 coups” (Dir. François Truffaut, 1959)

62. “Pierrot le fou” (Dir. Jean-Luc Godard, 1965)

63.“Cléo de 5 à 7” (Dir. Agnès Varda, 1962)

64. “Bande à part” (Dir. Jean-Luc Godard, 1964)

67.“Jules et Jim “ (Dir. François Truffaut, 1962)

64. “La collectionneuse “ (Dir. Eric Rohmer, 1967)

66.“Le Mépris” (Dir. Jean-Luc Godard, 1963)

68. “Hiroshima, mon amour” (Dir. Alain Resnais, 1959)

F.69 Jean Seberg in Á Bout de Souffle (Breathless), 1960.

Despite earlier films of the movement (La Beau Serge ’58 and The 400 Blows ’59), Breathless is considered the first exemplification of the French New Wave movement.

Although it bares a simple plot, the film possesses a complex and non-paradoxical aesthetic and narrative composition. Almost all of the signature traits of the movement are exhibited: jump cuts, hand-held camera, modern music, improvised dialogue, free narrative, inconsistency in pace, references to other films, natural light and live locations.

In addition to this, the themes undergone in the film are existential and deeply connected with humanistic philosophies which lacked in the contemporary cinema of the time. The film’s commercial and critical success positioned the new avant-garde artists in the international focus and underrated actors Belmondo and Seberg transcended into becoming style icons for youth of the 60’s and future generations.

Cultural and art references in the film.

Referencing films and artworks is one of Godard’s trademarks. Throughout Breathless and all of his films, he continues to make use of references as part of his extensive cultural knowledge.

F. 70-1 Humphrey Bogart in “The Harder they Fall”

F. 72-3 Michel Poiccard admiring Bogart and imitating him.

Michel’s obsessive admiration towards Humphrey Bogart is reflected all throughout the movie by copying Bogart’s on-screen persona and style as seen films like Casablanca and The Harder They Fall.

Michel’s gangster attitude such as the omnipresent smoking, hats, and the finger over the lip gesture is a direct homage to Bogart and his influence in the contruction of the anti-hero.

“All you need to make a movie is a girl and a gun.”

- Jean-Luc Godard

The scene where Patricia looks at Michel through a poster is a direct visual reference from the movie “Forty Guns” (1957) directed by Samuel Fuller.

F.74-5 Patricia and Michel go to the cinema in “Breathless” Michel and Patricia watch Westbound (1959) in the theatre as an escape from the policemen but also stresses that cinema was an important leisure for french peoplle in the attempt to escape from reality itself.

“Laszlo Kovacs” is Michel Poiccard’s alias in Breathless and a reference to the character (also played by Jean-Paul Belmondo) in Leda (1959) directed by Claude Chabrol, also a member of the French New Wave.

Fig.78 Belmondo in Leda (1959)

Fig.79 Orson Welles in Citizen Kane.

There is a similarity between the storyline in Citizen Kane (1941) in that a couple’s changing states are central to the plot, Michel’s costume, and the importance of newspapers.. Also, Orson Welles was an admired director by Godard.

F.80-81 Girl sells Cahier du Cinema to Michel.

An original copy of the publication.

A student approaches Michel trying to sell a copy of Cahiers du cinéma, promoting Godard and his colleagues as critics.

Girl: ”Monsieur, do you support youth?”

Michel: ”No, I prefer the old.”

William Faulkner

Patricia: The last sentence is very beautiful.... “Between grief and nothing, I’ll take grief.”

What would you choose?

Michel: Grief is stupid. I’d choose nothing. It’s no better but grief is a compromise. You have to go for all or nothing.

82.“Jacqueline avec des fleurs” Picasso, (1954)

83“La Lettre” Fragonard, (1776)

Artwork in Patricia’s apartment are juxtaposed as they are both representations of women. Picasso’s is a contemporary to Breathless, therefore a modern woman, while the other one is a romanticised vision of the female spirit.

Renoir As a symbol of beauty and sensuality with playful innocence. Patricia asks Michel if she looks like her, revealing that Patricia puts effort into having a defined image to others.

84. Patricia and a Renoir painting screenshot from the movie.

The Workshop

1. Post-Modernism: anti-structure and abstract 2. Existentialism: absurdity of life 3. French American: opposites attract 4. A woman in a man’s world: liberty and judgement 5. Late 50’s: sex and culture 6. Jean-Luc Godard: acting in the moment 7. French New Wave: thinking out loud

1. Post-Modernism:anti-structure and abstract

85. April Greiman

2. Existentialism: absurdity of life

86. ‘Merde d’Artiste’, 1961, by Piero Manzoni.

3. French American: opposites attract

87. Scene from “Before Sunrise� (1995), a lovestory between an American boy and a French girl

4. A woman in a man’s world: liberty and judgement

90. Chantal Goya in ‘Masculin Féminin’ by Jean-Luc Godard (1966)

91. A member of a teenage girl gang lying in bed smoking a cigarette. (Photo

by Vecchio/Three Lions/Getty Images). Circa 1955.

5. Late 50’s: sex and culture

6. Jean-Luc Godard: acting in the moment

92. Jean-Luc Godard with a handheld camera circa 1960.

93. Bridgett Bardot and Michel Piccoli in “Le Mepris� (1962)

7. French New Wave: thinking out loud

PART ll: CONCEPT RESEARCH

Understanding film communication

F. 94 Jean-Paul Belmondo peers out the window during the filming of Ă Bout de Souffle (Breathless), circa 1959.

Breathless is a black and white movie filmed in various locations within Paris with a hand held camera. The lack of sophisticated equipment provided a low fidelity image and sound, however using mobile artefacts enabled greater flexibility for a variety of shots and angles as well as a documentary style. The overall aesthetic emits waves of poetic realism but with a casual tone. On location mise-en-scène and abundant natural light are predominant throughout the entire film. Jump-cuts are the central editing method. Radical changes of scenes displaying opposing moods and emotions lacking transitions, distort the viewer’s notion of time and sequence.This permitted the constant use of juxtaposition among contrasting ideas within a same sequence, all together contributing to the unstableness of the humans involved in the plot.

Scenes Shots Angles The film utilises a wide array of shots and angles, thanks to the use of jump cuts, contrasting frames in immediate sequence are not mistakes but rather a tactic employed in order to keep the viewers active and bewildered. The most used angles are the over the shoulder, high angle. eye-level, and bird eye view . Godard uses close-ups and extreme closeups to show the character’s emotions and juxtapose details in the scenes. “Social” shots show the connection between two characters, usually Michel and Patricia. Establishing shots are used to establish change of locations and new char The documentary style of the film is obtained through POV shots, pan and tilt, tracking shots, and random camera movements.

I. “Get lost!”

Close-up

The introductory scene where the viewer is in the car with Michel and has a direct conversation with the camera. Inside the car, jump-cuts between establishing shots, POV, close-ups and over the shoulder shots set the energetic rhythm and introduce Michel’s personality and thoughts.

After being detained by the police officer, jumpcuts between extreme close-ups add intensity to this happening which will determine the unraveling of the plot.

Over the shoulder

POV/ establishing shot

Extreme close-up

Extreme long shot

II. “Bonjour, Michel”

The establishing shot of Notre Dame, announces Michel’s arrival to Paris but is also juxtaposition since it appears right after Michel shoots the policeman but feels no remorse. Shoe shinning his shoes with a newspaper, shows Michel’s neglect of the real world and lack of respect towards conventions. Introducing Michel’s facial expressions in the mirror shot in an over the shoulder high-angle is the first of repetitive gestures throughout the film. The mirror symbolises vanity and self-obsession but also the multiple identities/ roles humans display in a society based on appearances.

Establishing shot

Full shot

Medium over the shoulder shot , high angle

III. “New York Heral Tribune!”

Long establishing shot

Medium shot

Bird-eye view

Patricia is introduced casually while doing her job selling newspapers for the “New York Herald Tribune” in the ChampsElysées, this is also one of the most iconic scenes of the movie. Full shots and medium shots are dominant because the bond of Michel and Patricia is still impersonal. A pan and tilt camera movement provides a stable follow a the character’s journey up and down the street.

The bird eye view provides observers with a clear mapped view of the subjects in relation to the setting.

IV. “I love a girl with a nice neck�

During the car ride an over the shoulder high angle of Patricia is divided into jump cuts after each compliment Michel says to her. This angle does not provide enough visibility for the viewers to interpret Patricia’s reaction. Transitioning to a high angle medium shot of Michel insulting Patricia after rejecting him, his vulnerability is defended with anger and insolence.

Over the shoulder High angle

V. “Between grief and nothing”

Over the shouder close-up

The longest and most intimate scene of the movie. Michel sneaks in to Patricia’s hotel room and continues his attempts to seduce her. She finally gives and starts to express to Michel her feelings about life and love, being vulnerable to him. Mostly extreme closeups and medium shots, are used. Extreme shots are used when they kiss and are deeply staring into each other to various emotions at once and the audience can understand these rapid changes. However, false love and failure to communicate break intimate connections which is when they use the medium shots to symbolise separation.

High angle Close-up Patricia Franchini : Listen. The last sentence is beautiful. “Between grief and nothing, I will take grief”. Which would you choose?

Michel Poiccard : ...Grief’s stupid, l’d choose nothing. It’s no better, but grief’s a compromise. l want all or nothing.

Extreme Close-up

“I don’t know if I’m unhappy because I’m not free, or if I’m not free because I’m unhappy. ” -P

“We’re hiding like elephants when they’re happy.”

-P

Medium Shot

Extreme Close-up Patricia Franchini : See? You said last night you couldn’t live without me, but you can. Romeo couldn’t live without Juliet, but you can.

Michel Poiccard : No, I can’t live without you.

V. “I’m sick of it all, I’m tired. I want to sleep” MICHEL: Makes me want to puke.

PATRICIA: What did he say?

VITAL: He said you make him want to puke.

PATRICIA: What’s that mean, “puke”?

High angle

Long shot

Close-up

Breathless in a Nutshell

Understanding fashion communication

An important attribute to the film’s iconicity, is the fashion costumes and styling used. The fact that there was no costume designer credited but instead the actors wore their own garments, meant that they had major creative freedom in the interpretation of their characters. Both the female and the male lead channel modern-day Parisian coolness, such as the evokness of mystery through dark sunglasses and incesant smoking.

Michel

Michel’s idol is payed homage through his fashion style. Eddie Willis from the “Harder they Fall” is an American gangster whose wardrobe is based on tailored suits and accesories consists of a gun, a cigarette, and a tilted fedora. Michel replicates this style, however, giving it his own disordered and careless finish such as combining fabrics that don’t combine and loosely unbuttoned shirts.

Patricia

Patricia ’s image was a revolutionary statement. When speaking of Parisian fashion in the time, Dior’s “New Look” was the only concept acceptable for a stylish woman. Her pixie cut, no-bra choice, and the incorporation of masculine elements such as her boyfriend’s fedora or shirt reimagined the concept of femininity and sensuality for young women. Patricia represents modernity and freedom given by her origin and youth.

In her closet: striped t-shirts, no bras, cat-eye sunglasses, men’s shirt, cigarette pants, NewYork Herald Tribune T-shirt, pleated skirts and dress.

PART lll: CONCEPT DEVELOPMENT

Contemporary Evidence “To become immortal, and then die�

95. Courtesy of the New York Times store.

In Culture

96. French actress Audrey Taotau .(top) 97.Twiggy in the 1966 (upper right) 98. Mia Farrow in the cover of Life Magazine, 1967. (below) 99. Mia Farrow for Life Magazine, 1967. (lower right)

100. Mad Men episode “The Jet Set”, set in the 60’s, the fee sexual girl is ready the “The sound of Fury”

by William Faulkner in bed just as Patricia in the hotel room scene

101. The Dreamers (2003) by Bernardo Bertolucci. Direct reference to the movie with quotes and screening of the “New York Herald Tribune!” scene

102. “Before Sunrise” .French-American roance set in Paris. 103. “Rayuela” by Julio Cortazar. Love story set in Paris’ bohemian scene of the 60’s and abundant use of cultural reference.

104. “Lalaland” (2017) Classic Hollywood inspired fashion and Nicholas Ray reference.

105. “Michel Poiccard” by Death Set album.

106. Bonnie and Clyde, two lover on the run and Michel Poiccard male fashion inspiration.

106. “Thelma and Louise� (1991) partners in crime kill a man and steal a car resulting in police persecution.

108. Ryan Gosling in “Gangster Squad” (2013).

107. French cinema during the Nazi occupation. Statorial choices inspired in Michel.

109.Robert Redford in “The Sting”(1973)

In Fashion

French actress Marion Cotillard.

Dior Homme 2012

Under-exposure, by Corinne Day featuring Kate Moss

Lily-Rose Depp for Chanel.

Shot by Alexandra Nataf for The Edit September 29, 2017.

Monse Summer collection 2017.

“Cara” Vogue Paris October 2017 Cara Delevingne by David Sims.

Cara Delevigne for Elle UK 2017. Mirror shot and pixie cut referencing Patricia.

Gigi Hadid by Patrick Demarchelier for UK Vogue, January 2016

Editorial Inspiration

Casa Barragรกn by Luis Barragรกn The major subject for the editorial will be the French Wave focusing on certain elements and aesthetics. They will be further discussed in the essay, but some of them include: the juxtaposition of subjects and colors, realistic approach to art, humans and the search of meaning, and mundanity captured magically.

Pablo Zamora

Pablo Zamora

Karla Read

“The Man from Rio” (1964)

Joel Meyerwitz

Pablo Aguilar

Olga de la Iglesia

Angela SaviĂąon

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