Fashion in Cinema & Music Year 3

A Bout De Souffle

Breathless (1960) Research Book Rebecca Louise Todd BA Fashion marketing & communication, Level 6, 2017-2018 6FAMK003C - Visual Arts - CWK1 - Maya McCarthy Word Count: 10881

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Index:

I,Essay 5w II. Reseach Book Introduction III. Synopsis

13

15

IV. Costume Designer

17

V. Fashion in the 50s

19

VI. Hair in the 50s

21

VII. Fashion in the 60s

23

VIII. Hair in the 60s

25

IX. Posters 27 X. Poster Analysis

31

XI. Director 33 XII. Key Films 35 XIII. Director Themes

39

XIV. Similar films

41

XV. Cinematic style

47

XVI. References in the Film

49

XVII. Key scenes

57

XVIII. Impact in the decade

79

XIX. Contemporary references

87

XX. Key images / Shots

97

XXI. Key Images / Angles

113

XXII. Editorial Layouts

121

XXIII. References

131

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The Essay

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Breathless Jumping

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A Bout De Souffle (Breathless) is a 1960 French New Wave, crime film directed by Jean Luc Godard. It is one of the earliest examples of the French New Wave movement and one of the most iconic. This emerging movement at the time was a rebellion against traditional film directing and cinematography. In the case of Breathless, the film direction was described as the visual representation of the characters lack of focus in their lives. As the french new wave movements style of film was likened to that of documentary style filming in that it followed the characters and their thought process in a natural progression. Breathless follows the lives of Michel, a petty thief, and Patricia an American aspiring Journalist, in Paris in 1960, and the development of their relationship through the interaction with murder, theft, lying, love and betrayal. The French New Wave movement interacts with the story line through the introduction and iconically the use of Jump Cuts, which create an illusion of time in Breathless as well as a distortion of reality.

Breathless was the director, Jean Luc Godard’s first feature length film and the first of many considered to be French New Wave. Jean Luc Godard engaged with social and political topics through radical experimentation with editing techniques to create jump cuts, visual styles and narrative style that moved away from conventional manners of direction. Based on common themes among Godard’s work in the 60s, various repeating themes emerged in his work; from the relationship between lovers, to crime, to powerful women and the use of cultural references. This pattern in Godard’s work acknowledges the social and political topics that he as a director is interested in dealing with in his works and portraying on screen through his radical direction style. Godard made the decision for Breathless to be filmed on location, with natural light, using a hand held camera and wheelchair to film, and for the most part spontaneous dialogue, that allowed Breathless a more natural flow of conversation. Jean Luc Godard’s style was unconventional for the decade as he made a point to show that film conventions were merely conventions.

Breathless was released in 1960, on the cusp of the 60s and the end of the 50s, therefore it was important to take into account the 50s as well as the 60s as both were considered to be relevant. The most notable impact that Breathless had on the decades was the cinematography style. The use of unsmooth transitions through jump cuts was a far reach from the spectacular decade of film of the 50s, where encouraging people to the cinema through engrossing films were of more importance than attempting more realistic and “unspectacular” films like Breathless. The 60s however showcased more realistic films such as historical dramas and psychological themed films, which can be considered in the same genre as Breathless, in that they look at human relationships and the reality of the working class. Through Godard’s rebellion of the conventions of cinema in this decade and the introduction of realistic cinema, it created a turning point for what people believed they could do in cinema and gave way to a new perspective of the film scene.

In Breathless, Godard considers more social political conversations of the decade, such as gender roles. This conversation is told through the character of Patricia, her being a working woman as well as being a sexual being.

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Although Breathless was filmed in the realm of the Hays code, the movie does allude to more sexual natures of the characters in a discreet manner as was done at the time. The audience is given the impression that Patricia has slept with Michel as well as another friend of hers, is shown through jump cuts and conversations between characters that indirectly gives us this information. A woman exploring her sexual needs unwed would have sparked controversy in the traditional society and the role that women were meant to have. As well as this the working women was a conversation the film had, in the way a woman was treated in the workplace, especially a male dominated industry such as journalism. Patricia was subject to disrespect by her fellow journalists. This social topic was brought to light in the 60s, after Breathless, women were entering the workforce and speaking of their dissatisfaction, the pay gap and sexual assault in the workplace. Breathless’ question of a woman’s role came at the beginning of a decade that would come to be known as the decade of change for women.

Breathless was a phenomenon at the time of its release and has continued to inspire generations in the creative industry ever since. Breathless has been referenced countless times in movies, TV series and can be seen in Fashion through the breton stripe and oversized menswear shirt worn by Patricia. The movie is likened in contemporary times as it dealt with issues that continue to this day as well as a subdued attitude that can be seen amongst newer generations to this day, and new issues being raised around the importance of social media over real world problems. The use of jump cuts too can be referenced in contemporary culture, as more and more people are able to edit their lives the way they want other people to view it on social media, the same way Godard edited out what was unimportant to his character’s development.

The use of jump cuts to give an illusion of time and a distortion of reality was considered at the time to be amateurish but has since been viewed as an iconic element of the film and Godard’s style. The film captured the complicated relationship between lovers dealing with the highs and lows of life and their interaction with time. In conclusion Breathless was a cinematographic success that stepped outside of the conventions of cinema in the decade and was a feat for the director Godard that launched his career to success, making him renown in the French New Wave Movement and Breathless becoming the first and iconic child of that era of film.

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References:

Classiq. (2017). jean seberg--breathless. [online] Available at: http://classiq.me/style-in-film-jean-seberg-inbreathless/jean-seberg-breathless-2 [Accessed 21 Nov. 2017].

En.wikipedia.org. (2017). Jean-Luc Godard. [online] Available at: https://en.wikipedia.org/wiki/Jean-Luc_Godard [Accessed 21 Nov. 2017].

En.wikipedia.org. (2017). French New Wave. [online] Available at: https://en.wikipedia.org/wiki/French_New_ Wave [Accessed 21 Nov. 2017].

Godard, B. (2017). “Breathless”, by Jean-Luc Godard, 1960. Original movie poster.. [online] Elbe Paris. Available at: http://www.elbe.paris/en/great-french-classics/325-breathless-godard.html [Accessed 21 Nov. 2017].

Godard, J., Belmondo, J., Seberg, J., Boulanger, D., Melville, J. and Dalzac, E. (2017). Breathless (1960) • movies. film-cine.com. [online] movies.film-cine.com. Available at: http://movies.film-cine.com/breathless-m225 [Accessed 21 Nov. 2017].

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“What’s more ethical: The women who cheats, or the man who walks out? // The woman who cheats.”

RESEARCH BOOK

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Breathless (A bout de souf-

The photography style has

fle), released in the 1960s,

been described as the visual

written and directed by Jean

representation of the charac-

Luc Godard. The film was

ters lack of focus and inter-

one of the first and best ex-

est in the bigger problems in

amples of the French New

their lives and focus on small-

wave movement of cinematic

er and less important details.

style in films, rebelling against

The filmed can be likened

traditional film directing and

to documentary style film-

photography. It was also

ing in that it is following the

the director, Jean Luc God-

characters and their thought

ard’s first feature length film.

processes in a very natu-

The film made use of on lo-

ral progression of their lives.

cation filming, natural lighting

The movie itself is not too

and hand held filming. The

dramatic, in a way that may

film had to be dubbed after

seem gripping, but delv-

due to the noise the cam-

ing into the film through an

era made as well as the fact

analytical approach allows

that Godard was calling out

the viewer to have a higher

the dialogue from behind

understanding and appre-

the camera; part of this new

ciation for the films style.

untraditional style of filming.

“I told you being afraid is the worst sin there is.�

Introduction

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Breathless synopsis Jean-Paul

Belmondo,

who

plays petty thug Michel, in the 1960 Breathless, thinks of himself as quite the clever bad guy that can get out of anything. Whilst driving a stolen vehicle -his favourite form of petty crime- he shoots and kills a cop after being pulled over, with a gun he found in said stolen vehicle.

He retreats to Paris, where he hides out in the apartment of his aspiring journalist girlfriend, Patricia, played by Jean Seberg. In hiding, Michel is trying to pull together enough money to get the pair - Michel and Patricia - to Italy.

But when Patricia finds out that her boyfriend is being investigated for murder, she begins to question everything,

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“I dont know if Im unhappy because Im not free, or if Im not free because Im unhappy.�

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Costume Designer // 16

Designer?

The credits from this 1960s

film by young film director Jean-Luc Godard do not list a costume designer. Godard was known for the creative freedom he gave to his actors, so it is likely they (the actors) were given this element of their character, complete freedom and choice for what they felt the character would do. The film had notable impact on the wardrobes of many young americans off to paris. The film is said to have introduced to the American audiences another side to French fashion, through an on screen sense of nonchalance about choosing what to wear and a “beatnik-bourgeois� style forming early in the 1960s. Where Michel, notably wears a hat, but with less of the social impracticalities attached, whilst Patricia, being a semi liberated American, shows off a new boy cut hairstyle and speaks of not wearing a bra.

“Veux-tu que je porte un souiengorge?”

“As you like it, baby.” // 17

Fashion in the 1950’s // 18

Christian Dior’s “New Look” from the end of the 1940s continued to influence the fashions of the 50s; with unpadded, rounded shoulders, straightened bustlines, cinched in waistlines and full skirts. With the round a flamboyant skirts defining the more feminine wardrobe. During this period blouses, jeans and long, narrow skirts were becoming more popular styles of dress.

Many dresses in this decade were sleeveless, hand long and wide collars and v necks. Blouses became fashionable too, seen paired with skirts or pants and were generally sleeveless or had very short cuffed sleeves.

By the late 1950s, the long slim look had become a trend again, with pencil skirt styled dresses. Dresses in this style were often sleeveless and paired with a short jacket or over a long sleeved blouse.

Some of the popular and up and coming trends of the decade can be seen in Patricias wardrope, with her wearing billowing skirks/dresses with cinched waists as well as often wearing pants and cardigans.

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Hair in the 1950’s In the 50s popular hairstyles were made popular by movie stars seen in films and in mass media. Such stars included Audrey Hepburn, Marilyn Monroe and Jayne Mansfield.

A popular style that emerged was a short italian haircut that came from italian movies, it was short and shaggy, with soft curls. Hair in the decade was kept close to the head in size, with soft curls and feminine waves shaped around the face. On the other hand, longer hair was also popular, especially amongst teens and students; longer hair was worn down or back in a ponytail. Fringes could also be seen, and at the time they were very short and high on the forehead. Another look that emerged in cinema and took the streets was the pixie cut, seen on Audrey Hepburn in the early 50s. It was seen as a mark of the characters independence. Following this line, Patricia sported a very short pixie cut that was not as popular among women at the time. And could represent her more independent/modern mindset.

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Fashion in the 1960’s // 22

The 60s style changed drastically depending on who the style icon was at any moment in time. Before Jackie Kennedy stepped out of the spotlight in the 60s she was the icon that women aspired to dress like, with pearls and tailored suits followed by Bridgette Bardot who unlike Jackie was tacky, cheap and bold. Fashion in this decade was driven by a youthful ideal, with oversized collars, bows and trim made women appear smaller and delicate.

Women

sported

more shapeless mini dresses did not accentuate a woman’s natural form. 1950 style dresses too continued in the early 60s with the hemline coming up slightly. Shift dresses became popular too for more casual occasions. In Breathless, Patricia follows a similar style line with the stripy dress she is seen wearing, that falls just below the knee and has a cinched waist and part of the 60s style that came into this dress was the large over sized rouned collar. But she also wears a more 60s style dress in the bedroom scene.

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Hair in the 1960’s As with the 50s, in the 60s movie starts continued to be influential on hair trends and trends in general. The 60s saw the entrance of the beehive in popular culture, followed by short pixie cuts. Hairstyles in some cases were described as geometric and asymmetrical. Hair accessories were a big part of the hair trends in the 60s, with woman openly wearing fake hair and wigs.

Clipped in hair pieces were also popular, adding height and width to hairstyles. Big hair as well as very short hair were both popular, similar in overall shape, differing only in length. Hairstyles were rounded with sharp clean cut edges, less fluttery and soft curled like in the 50s. Patricia wore her hair on a very close to the head cut with a rounded shape, so similarly to the shape of the 60s.

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posters

“When the French say a second, they mean five minutes.�

Poster Analysis // 30

The posters seen above have a common colour theme of; black and white, a mustardy yellow, blue and red. There is also a pattern of blending a black and white image with a colour graphic of some sorts; from circles to lines. As well as this many are graphical drawings in a non realism style.

The colour theme is interesting as the film is in black and white and then therefore there were no colour cues that poster designers could have taken from the film itself.

The posters also depict a similar idea to that of the film, in the lack of focus on the real big problems going on the lives of our protagonists: the murder, theft and crime that are to be discovered at any point but are over looked for less important problems. The posters in the same way, over look the murder and crime, and focus on the relationship between the two lovers.

“Two things are important in life: for men, women; for women, money.�

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Jean-Luc Godard // 32

Director

Jean-Luc Godard is a french

egory of French New wave,

director, film critic, cine-

Jean-Luc

matographer,

screenwriter,

one of the most influential.

editor and producer. He be-

Godard uses his films to

gan his career in the 1950s

demonstrate

with notable works including;

ry through references as

¨Breathless¨, ¨My life to live¨,

well as to show his political

¨Contempt¨, ¨Pierrot le Fou¨,

views. From the very begin-

¨Histoires du cinéma¨. His

ning, Godard has included

works fall under the French

many references within his

new wave movement of the

work than the rest of his

late 1950/1960s that was

New Wave colleagues did,

coined by a group of french

and thisv is no different in

filmmakers.

this

¨Breathless¨ (discussed later).

movement, filmmakers en-

¨Breathless¨ was Godard’s

gaged with social and political

first feature length film, that

topics of the ear, and through

catapulted his career in the

their

experiments

French New Wave move-

with editing, visual styles, and

ment and began the error of

narrative parts a vast con-

his most celebrated period

trast to the conservative time

as a director, and ended with

they were in. within this cat-

the film ¨Week End (1967).

radical

Within

was

considered

film

histo-

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

Key Films “The more one talks, the less the words mean.�

Vivre sa vie (1962)

Synopsis: French drama about Nana, who is a parisian in her early twenties, she leaves her husband and son in the hopes of becoming an actress. With no money other than a small amount earned being a shopgirl, and unable to get an acting job, she decides to become a prostitute to earn more money for herself. She soon finds a pimp, Raoul, who then decides to sell her to another, where Nana is killed in the exchange.

Similarities:

Both films

portray the protagonist trying to earn a living through illegal means and in the process using the people around them as a means of survival or as a shield from the reality of their actions. Both movies involve a murder as a central action or climax to the film that dictates the end. Both movies are set in Paris around themes of money, portrayal and love.

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Synopsis: 1963 French dradisprezzo” (A ghost at noon).

The protagonist Paul Javal is

“I won’t say NO, but I won’t say YES either.”

Contempt (1963)

ma film based on the novel “Il

a young french playwright married to Camille Javal. Paul accepts an offer to work on a film with American producer Jeremy Prokosch to rework a script for a German director. Camille suspects that her husband is using her for the job and after a discussion about her uneasiness about it all. After a conflict between all involved and Camille coming to a realisation of her husband’s servility.. She declares that her respect has turned to contempt, and leaves with Prokosch where they are killed in a car crash.

Similarities: Breathless was based on an Article from the New York Times and this was based on a novel. An American and Frenchman working together and the cultural differences that could be involved with this. The women being suspicious of her man and uneasy about the circumstances they are involved in. The women somehow betraying the man, for the movie to end in a death

Key Films “Poetry is a game of loser-take-all.”

Pierrot le Fou (1965)

Synopsis: A french film from 1965. The film was based on a novel by Lionel White called Obsession. The film follows the life of Ferdinand Griffon who leaves his wife and four children and runs away with his ex girlfriend Marianne Renoir, upon entering Marianne’s apartment and finding a corpse, Ferdinand discovers that she is being chased by OAS gangsters. The two take a trip from Paris, constantly on the run and in hiding. The two get separated in a confusion during a meeting with gangsters.

After reuniting, betrayal leads to the death of Marianne and her real boyfriend Fred and the eventual panicked suicide of Ferdinand (Pierrot).

Similarities: Both films follow the complicated lives of two lovers who help each other out. The films follow how the characters deal with their murder situations and both in alternate ways with Pierrot running and hiding, whilst Breathless, Patricia turning in her partner.

Both come to fatal ends that have been the build up of their stories and their end.

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(1966)

“This film could be called The Children of Marx and Coca-Cola�

Masculin Feminin

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Synopsis:

Is

a

1966

french-swedish that was said to represent what France was like in the 1960s. The film is filmed in the same non linear technique that Godard

was

known

for.

The film follows a romantic young boy, who chases a budding pop star. Regardless of their differences the two soon become romantically involved and a menage a quatre commences with the stars roommates. The film includes interview style cut aways with the actors about love, love making and politics.

Similarities:

both

films

look at the intertwined relationship with characters that are very different but still in love as well as inclusive of references to figures in culture throughout both films. They are different in that the lovers are able to be together without a fatal end. Both films explore new non traditional styles of filmmaking as well as a documentary style film.

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Director Common Themes Based on the above look at

- Godard explores illegal

some of Godard’s notable

means of survival as the

works at the beginning of his

beginning of the fatal ends to

career around the time of

his characters

Breathless and the comparison against breathless we can

- The use of the French new

see some common themes

wave movement brings an-

emerge in the type of pro-

other aspect to the film and

jects that Godard chooses to

adds to the themes, emotions

undertake. Some of the com-

and thoughts of the charac-

mon ideas and issues raised

ters in his films

in the above films directed by Godard are:

- The protagonists are always a man and a woman, which

- The complex relationship

he uses to explore the com-

between lovers, their be-

plex relationship between

trayal

men and women and how

and

devotion

in

complicated situations

these develop through situations

- The fatal end that comes with crime, murder and

- He includes cultural refer-

theft and the lack of acknowl-

ences (explored later) which

edgement people have to the

reference

bigger problems in their lives

music figures and other fa-

and the over emphasis on

mous figures of the time that

small mundane problems

tell us his opinions and views.

- Showing of the women in

- The way he works a film is

more powerful personality

in a very natural way, using a

positions or job posititions

documentary style follow-

than their lovers

ing of characters

political

figures,

“All you need for a movie is a gun and a girl.�

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Similar Films Ho! (1968) Director: Robert Enrico A 1968 French/italian crime film starring Jean-Paul Belmondo. Based on the novel Ho! By Jose Giovanni.

Synopsis: Ex race car driver Francois Holin (Ho) joins a gang of bank robbers. He

“Vous avez une licence?�

takes the job of the getaway driver as well as the carjack-

er. The leader is killed during preparation for a robbery

and Ho takes his place to carry out the robbery. Carrying

Comparison: crime (i.e.

out of the robbery leads to

carjacking) by the main pro-

the arrest of Ho and his im-

tagonist. Someone is killed

prisonment. His cellmate has

which leads to the incarcer-

a minor sentence, and Ho be-

ation / hunt of the murderer.

gins to imitate him. Ho man-

Stolen identities, in Breath-

ages to be released in place of

less, Michel has an alias name

his cell mate. The newspaper

which he uses on the phone

is soon after full of this grand

and with certain people,

escape Ho has pulled off. Re-

whilst in Ho!, Ho imitates his

turning to his gang however,

cellmate and steals his identity

they have already found his

to leave prison. Newspapers

replacement. Ho joins a small

are the medium used for

group of robbers and soon

the protagonist to find out

comes face to face with some

that he is been discovered

past enemies. A confronta-

and searched for, in both

tion costs the lives of the ene-

movies this is a prevalent

mies as well as Ho’s girlfriend.

media. Both end in deaths.

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“A minute of silence can last a long time... a whole eternity.”

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Bande a part (1964)

Band of Outsiders 1964 french new wave film Director: Jean Luc Godard.

Synopsis: A woman name Odile meets a man name Franz in an english class. Odile had found a stash of money in her aunt’s house where she is staying and confides this information to Franz.

The pair make a plan to steal the money. Arthur another friend joins the pair and soon spends a night with Odile.

Comparison: In Breathless

They decide to go ahead with

Michel steals money from a

the plan sooner than they ex-

girl he is using, whilst here a

pected, but a snowball effect

group decide to steal a large

of problems gets in their way

sum. Both films involve lovers

that leads to the feared death

working together to survive.

of a woman. Arthur stays

However in Breathless Patri-

with the suspected villa and

cia is uninvolved in Michel’s

soon ends up dead after a

crime, whilst here Odile be-

shootout with his uncle over

gins the plans. A shootout

the money stash. The woman

leads to the death in the end,

is shown to be alive and Odile

however here the protago-

and Franz flee with the money

nists escape and live happily

to South America where they

whilst in Breathless, Patricia

decide they love each other.

has to go on without Michel.

Similar Films Adaptation Director: Spike Jonze Synopsis: Charlie Kaufman is hired to write a screenplay for The Orchid Thief, a short story adaption from a short story written for a newspaper. Charlie is struggling with personal issues involving his mental health and his brother Donald moving in, as well as writer’s block. He hopes to impress New Yorker journalist Susan with the screenplay. Donald becomes a screen write too whilst living with his brother and sells a million dollar thriller. He is enlisted by his brother to take his place in an interview with Susan, where he grows suspicious of her. The brothers follow her to Florida, where she takes the orchid drug and sleep with Laroche.

Following this there is a car chase, that leads to the death of Donald and Susan being arrested by Police. Charlies writers dry spell comes to an end and he finishes the script.

“You and I share the same DNA. Is there anything more lonely than that?”

(2002)

Comparison: in this contemporary movie we can see some similar aspects to Breathless in terms of relationship between characters as well as common motifs and themes. For example, common motifs between the two movies are cars, illegal activities (ie. drugs and crime) as well as the police. In terms of relationship between characters, Patricia helps helps Michels whilst Donald helps Charlie, the latter not being a sexual relationship whilst the first being one. And then ultimately the death of an important character. There can also be found some themes of loneliness that too could be explored in Breathless. Both films overall have a similar plot curve, with a slow start, to the help from another character to a climax in events to the ultimate death of someone.

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Similar Films Atlantic City Synopsis: Sally is waitress with the dreams of becoming a blackjack dealers. Her

“Why are you doing this for me?

husband returns with large amount of stolen cocaine and the intention to sell it. Dave

meets one of sally’s neighbors

Lou, who is a former gangster.

Lou agrees to sell the cocaine

for Dave, but after Lou sells

the first amount, Dave is attacked and killed by the mob

he stole the drugs from. Lou continues selling the remain-

ing drugs to impress sally who he has always fancied. She is

beat by the mob and ques-

tioned about the drugs. The mob corners sally and lou

one night, but are killed when lou pulls out a gun. They steal

a car and flee to a hotel out

of the city, where they see on TV the report of the killings.

Sally awakes one night whilst lou is in the bathroom she steals the money and leaves to france, but Lou lets her.

He returns to Atlantic city.

Comparison: Both films look at the interconnected relationship between people and how they interact with illegal activities, the consequences of these and how they are dealt with. Share similar motifs, of cars, theft and death and betrayal. In Breath-

We all do what we can.”

Director: Louis Malle

- Hey, it’s nothing, Sinatra gives wings to hospitals.

(1980)

less Patricia betrays Michel, and in Atlantic City, Sally betrays Lou by stealing the money and running away, but at the same time both these scenes have a side to them that is devotions. As Lou allows Sally to leave as he cares for her, and Michel accepts that Patricia has informed the police and does not at first attempt to run, even though he had the chance.

In both films there too is an element of love in the pursual of love and an attempt to protect and help those that they car about, even if this means taking part in illegal activities in order to do so.

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Cinematic Style // 46

French New Wave Movement

the smooth transitions that

Breathless being apart of the

French cinema was used to.

French New Wave movement influenced the way in

Jump Shots

which Breathless was filmed.

Jump shots were a common

This movement was influ-

element in the French New

enced by the socio economic

Wave movement and are

conditions of france follow-

particularly evident in Breath-

ing WW2. As well as being

less. These cuts occurs when

influenced by Italian Neore-

the

alism; which meant filming

shots are not seamless, and

on location. Films from this

a clear to the audience jump

movement tended to be

has occurred in the scene.

transitions

between

more imperfect than what traditional

French

cinema

Adding

to

this

rebel-

had been at the time. Ac-

lion against traditional

tors would go off dialogue,

french cinema, the cine-

to a more improvised fluidity

matographer, Raoul Coutard

in dialogue and editing was

said that Godard improvised

rougher with the use of jump

the dialogue virtually on the

cuts and long tracking shots.

spot in a notebook no one

As well as this, films tend-

was able to see apart from the

ed to be low budget. This is

actors. Adding to the spon-

demonstrated in Breathless

taneity of Godard as well as

through the evident jump

the whole feel of the movie,

cuts, the on location shoot-

he did not receive permission

ing, hardly any artificial light

to shoot on location. The

and a hand held camera,

whole film was shot in au-

to give the imperfect feel,

gust and september of 1959

and further step away from

and shooting lasted 23 days.

“Informers inform, burglars burgle,

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murderers murder, lovers love.�

// 48

References in the film Introduction Jean-Luc Godard is renowned for using various references to other artists, films, musicians and literature works in his works. And Breathless is no exception. In this part we will look at the some of the direct references made

by Godard in this. However it is noteworthy to say that the following mentioned references are not the only references throughout the film, as some of the lines in the film are direct references to other films, however the next part will not look at those.

This part too will be organised in categories; the Arts, Figures and Fashion. And will attempt to briefly describe why this reference is interesting and potentially important.

// 49

Bach & Mozart Looking at hit singles of 1960, we see names such as Elvis Presley (Rock n roll / pop) and The Drifters (r&b vocal group) and french artists including Dalida (pop / eurodisco) and Bob Azzam (oriental music). This reference to the music that Patricia likes listening to and mentions to Michel in the bedroom scene is interesting as with most of what Godard does in this work, has made it polar opposite to what society was doing at the time. It also gives Patricia more depth as a character, making her seem knowledgeable of music and cultured.

It is potentially important as it could be adding to Godard’s rebellion against conforming to conventions and societal norms of the era. He is choosing for his characters to be rebellions too, and they are.

The Arts

// 50

Renoir Renoirs paintings are notable for his vibrant use of colour, and focusing on people in an intimate and candid composition. He was known as a celebrator of beauty and female sensuality, and explored the female body as one of his primary subjects.

The 1950s explored abstract expressionism in art whilst the 1960s was the decade of pop art. Both comparatively different to the artwork of Renoir, again contrasting the times that Godard was working in.

Potentially significant in that Renoirs work represented realism, and life as it was at the time, which is essentially what the audience can take of Breathless; a depiction of what life could have been like at the time. For that reason, although contrastingly different to what was going on in the decade, similar to the way in which Godard worked and

explored

this

film.

The Arts

// 51

Picasso

The Arts

Known for his work in cubism, constructed sculpture and collage and later in surrealism. Along with Matisse, the pair were described as the leaders of modern art. Picasso made a few film appearances as himself, including 1960, Jean Cocteau’s “Testament

of

Orpheus”.

This reference is interesting based on his themes because one could argue that the jump cuts that Godard using are some what surreal. Its distorting of time which Picasso does in some works. As well as this, Picasso is described as the leader of modern art, and Breathless can be argued as modern too in the exploration of topics that were only just emerging and developed later on in the decade.

// 52

Klee

His individual style influenced movements in art such as expressionism, cubism and surrealism, and deeply explored the colour theory in his works. His work is known to reflect his dry humour and his childlike perspective, his moods, beliefs and musicality.

This is an interesting reference as Godard has a similar reflection process in his works, in regards to the childlike perspective as Godard’s Breathless at the time was regarded as amateurish, and Godard too uses his works to reflect his beliefs and moods.

The reference may be important as it could reflect his admiration for Klees work and methodology as well potentially his inspiration behind the shooting of Breathless.

The Arts

// 53

The Arts

Dylan Thomas “A portrait of the artist as a Young Dog� is a collection of short prose stories. The stories are autobiographical and set in Thomas’ hometown.

They are comical glimpses into his life, from his childhood to teens to start as a young reporter for the Daily post in South Wales. It was said to evoke the mysteries and adventures of boyhood and young love as well as shattered dreams and described as never having been done in such a fresh way before.

Based on the above reference into the reference, we can say that this reference is important as Breathless can too be described as a fresh look at the relationship between young lovers and the adventures that come along with living in Paris and being a thief.

The similar themes in both could explain the reference and why it was done and reflect the comical appreciatiation that both works have.

Figures Lafayette French aristocrat and mili-

tary officer who fought in the American revolutionary war. He too was a key figure in the french revolution of 1789 and July revolution of 1830. Lafayette voyaged to America in search of glory that lay in the New World.

Faulkner American writer of short stories, a play, poetry, essays and

screenplays.

Primarily

known for his short stories set in his hometown of Lafayette County, Mississippi in the US. He was not widely known until receiving his Nobel Prize in literature in 1949.

Why?

Lafayette being referenced potentially for the link between america and france and the revolution, and the 1060s being a drastic shift in roles in society. Faulkner potentially being reference because of the fact that he was a screenplay writer. Interesting

connection

be-

tween the two as Faulkner grew up and wrote about his

hometown

Lafayette.

// 54

// 55

Maurice Chevalier French actor and cabaret singer and entertainer. Renowned for always wearing a boater hat on stage with a tuxedo. He was born in Paris, and became a star after starring in a musical comedy. In 1917 he discovered Jazz and then toured the US where he met American composers. He starred in Can-Can in 1960 after returning to film after almost 20 years.

This reference could potentially just represent the paying of homage by Godard to a performer that he admired on said performers return to film in that same year.

On reading some quotes by Chevalier, you can see another reason Godard may have referenced the performer was because they shared similar views about the relationship between man and woman.

Chavlier is quoted as saying:

“Many a man has fallen in love with a girl in a light so dim hwould not have chosen a suit by it�

Figures

Key Scenes (1)

// 56

first car scene This is one of the first introductions the audience has to Michel. The viewer is riding in the passenger seat, whilst Michel is driving. The audience sees the surroundings through

various

establish-

ing shots out the window through a very shaky camera.

This is also where the audience is introduced to jump cuts, we see cut aways from each establishing shot very roughly done and obvious. Unlike the traditional cinema of being immersed or feeling within the film, here we are aware that we are watching a film.

This is a key scene too as Michel addresses the camera directly, as if speaking to the audience. Godard is said to have done this to make the audience feel uneasy, and it works. You are caught off guard, and believe this is something that may occur again in the film, however it does not.

// 57

close up shot establishing shot

medium shot This is also the scene in which the rest of the plot is developed from as it guides the actions of the protago-

close up shot-over the shoulder

nist for the rest of the film.

The murder of a police officer and Michel running from

the

consequences.

The murder of the police officer is seen through various jump cuts and extreme close up shot of the gun in Michel’s hand, followed by the police officer falling. It is an intentionally hard to follow scene

establishing shot

done through the use of close up shots and jump cuts.

“If you dont like the sea, if you dont like the mountaines, if you dont like the city, then get stuffed.”

Key Scenes (2)

// 58

Michel pulling faces in the mirror

// 59

This is not necessarily a scene that gives the audience a large amount of information adding to the plot. However it alludes to various other scenes that follow this with a similar rhetoric and camera angles. It is also the same facial expressions the viewer sees in the final scene on a different character (Patricia).

This scene looking over the shoulder of Michel into the mirror we are introduced to facial expressions by Michel seen throughout the film and described by Michel as being called, “sour apples” as he explains to Patricia later in the film, where she too reproduces the facial expressions.

The finger over the lip is a movement we see from Michel in the movie in various scenes of the film. This is a direct reference to Humphrey Bogart, Michel’s icon. Bogart had a tick that meant rubbing his thumb over his lip. Godard uses this as an acknowledgement of the iconography of Bogart.

“What’s playing sour apples?”

Key Scenes (3)

// 60

New York Herald Tribune

This key scene will be discussed further in the discussion of the impact that Breathless had on the decade.

With basic research into that decade for the point of this scene we can see how Patricia would have been a rare case at that moment in time

establishing shot

for working in a men’s world of Journalism/Newspaper. It was only in the 1960s that women were given the right to work without permission from their husbands which only lends to the very independent and forward thinking women in Patricia, we see throughout the film, through ideas of fashion, money and men that were new thought processes

at

that

time.

We can see the lack of women in that industry as well as how women were treated in that industry in the scene where Patricia is interviewing a man, and keeps getting spoken over by other men,

medium shot

as well as having sexist comments made towards her.

// 61

“The money makes me independent of men.�

Full shot

Full shot medium shot & low angle

Key Scenes (4)

// 62

“identifie le meurtrier...�

This key scene is important as it is the first time that our protagonist, Michel, is aware that the detectives know who he is through fingerprinting.

This scene is important as it shows the lack of care that Michel has about what he has done. He reads the headline and then proceeds to move on from what he has just read in the newspaper, with zero panic or shock at the headline. This scene demonstrates the lack of importance the characters give to the bigger problems in their lives.

On the other hand it gives an insight into the decade in terms of investigating mur-

Full shot

ders, and it is interesting that it was done through fingerprints, as this would suggest a data base of fingerprints in which they compared the prints found at the scene with; to then discover the murderer. It is also interesting that we see Michel see

Full shot

a dead man and then read about the man he killed.

“I told you being afraid is the worst sin there is.”

// 63

The scene is shot mostly with very wide angles with a slow zoom into the newspaper so that the audience is able to see what Michel has just read.

In a normal, more traditional filming style, we might have expected an extreme close up of Michel’s face, to see his instant reaction to reading the paper. However we do not see his reaction to the news, adding to the washing over of important problems. and no acknowledged, panic or fear.

The wide angle allows us to the see the car crash and the other peoples reactions, thaat would be considered a normal reaction to what has just happened. vs. the reaction we see from Michel, as well as the nonchalant way that Michel read the paper.

Key Scenes (5)

// 64

“i love a girl with a lovely neck...�

This scene is interesting as we only see the back of Patricias head, although for most of the time Michel is the one speaking. And for each compliment

Over the shoulder car scene

that Michel gives Patricia in this scene we get a jump cut. This gives the illusion of passing time and a slow motion effect to the scene as if when editing, some parts in between were cut out. It is as if the audio and the video are out of sync. It is also interesting as Michel is giving Patricia a list of compliments, however due to the camera angle we never get to see her reaction to these and the jump cuts make this even more difficult.

The scene closes with a high angle shot over Michel, which gives the impression that Patricia is in charge and Michel is made to feel submissive. He then calls her names to her back as she walks away, however from an over the shoulder high angle shot we get a glimpse of his facial expression, and it is not one of anger like his words, but of longing for her to stay in the car.

medium shot

// 65

medium shot & high angle

Key Scenes (6)

// 66

Playing sour apples This is scene is the first time

In this long scene which lasts

we see Michel steal and lie

about 20 minutes we also

directly to Patricia. He steals

see Michel tell Patricia about

her keys and lets himself into

playing sour apples, which

her apartment. She finds him

is pulling faces in the mirror.

there and he tells her that

This scene we are again

the hotel “Claridges” was full.

over the shoulder of Patri-

Insinuating that he normally

cia, however we are able to

stays there and can afford to

see her reflection in the mir-

stay there; when the audience

ror of her facial expressions.

knows that he has no money.

We see this scene through full

We then are over the shoul-

shots of the bedroom they

der of Michel who does his

are in. we are able to see how

classic finger over the lip im-

the space and the characters

itating Bogard once again.

interact in the small space and

We also see the repeated

we see the room from differ-

idea of “crazy” being used,

ent angles to gain full perspec-

where Michel says; “you’re

tive of where patricia lives.

even crazier than i am”.

medium shot

// 67

Full shot

close up shot

“you’re even crazier than i am.”

Key Scenes (7)

// 68

“no trace of the highway killer” This is the scene in which

point of view of each char-

Michel is driving Patricia to the

acter involved in the silent

New York Tribune offices for

exchange, and through medi-

work. Michel agrees to wait

um shots. It is then zoomed

in the car whilst Patricia goes

out as Patricia leaves the of-

in. Michel buys a newspaper

fices and Michel quickly folds

outside the NY Tribune offic-

away his paper and starts the

es, looks around and then at-

car. The pedestrians passes

tempts to conceal his identity

the car, and the characters

as the camera comes close in

make eye contact, as the pe-

to see what Michel has just

destrians crosses the street

seen, which is a large picture

with the newspaper where

of himself plastered on the

he informs two police of-

centre fold, with the title “no

ficers about what he just saw.

trace of the highway killer”.

We then see a medium shot

This scene is important as it is

of a pedestrian who als o just

the first time Michel is recog-

bought the newspaper, look

nised and the first time that

at his paper and then back

he is aware that the media

up at Michel as if to confirm

know his name as well as ex-

who he has just seen, which is

actly what he looks like. It is an

ironic as the title of the article

interesting scene too in terms

was; “no trace of the high-

of how it was filmed with a

way killer”, and then we see

mix of medium shots and

someone recognise Michel.

establishing shots as well as

This is filmed in Jump cuts,

high angles of michel sitting in

back and forth from Michel

the car from the POV of the

to the pedestrian who is

pedestrian and a low angle of

watching him as if we are

the pedestrian from the POV

seeing the scene from the

of Michel sitting in the car.

// 69

medium shot

extreme close up

medium shot

High angle

establishing shot

Key Scenes (8)

// 70

Patricia - the working woman This is the scene where we

after we had just seen Patri-

shock: “To become immor-

see Patricia working as a jour-

cia, a woman, be completely

tal and then die”. We get a

nalist for the New York Her-

cut off and ignored by a man.

close up of her removing her

ald Tribune, not just as a pa-

I find it to be a funny play

glasses and contemplating his

perboy but as a journalist! This

with irony. With this answer

answer and then she looks

scene features other journal-

being something entirely sex-

directly into the camera.

ists, mostly men, but there is

ist, and probably common

Angles

one other woman journalist

around the time and still to-

This scene is comprised of

in the scene. An interesting

day when women work in

high and low angle shots as

quote in this scene is said by

male dominated industries.

well as eye level shots. The

the interviewee who pro-

high angle shots are of the

claims that “American wom-

This scene is entirely amus-

other journalists taking part

en dominate men”, which

ing from my contemporary

in the press meeting whilst

is interesting as previously

upbringing and i’m sure God-

the low angle shots are of the

when we looked at common

ard has done it intentionally

camera men involved in re-

themes through Godard’s

as her question is answered

cording and taking photos of

work, we see that he por-

indirectly but nonetheless an-

the interview. On the other

trays woman as being quite

swering the question. Patricia

hand the eye level shots are

powerful and independent.

seems to like this answer and

only seen of Patricia and the

Patricia attempts to ask the

flirts back with the interview-

interviewee, which gives im-

interviewee a question about

ee by looking at him over her

portance and significance to

his ambitions which we see

glasses and sucking the end of

these characters. We also see

her ask Michel in one of

her pen in a flirtatious way.

more close up shots of Pa-

the opening scenes, howev-

Jump cuts:

tricia as she bites the end of

er she goes unanswered as

There are then some jump

her pen in concentration or

a male journalist interrupts

cuts between journalist ques-

potentially shyness or hesita-

with a question of his own.

tions and other elements of

tion to ask her next question?

Patricias next question is: “Do

the scene, Patricia then re

you think woman have a role

proposes her first question

to play in modern society?”,

and removes her glasses at

this question i find amusing

the answer to her question in

// 71

High angle

Low angle

High angle

extreme close up

Looking into the camera

Key Scenes (9)

// 72

“Danton 0100” This is the scene in which

manner to the way she look

Patricia is confronted at the

at the man in the interview.

New York Herald Tribune

This scene uses middle shots

about knowing Michel and

to capture the conversation

his whereabouts. This is the

between the two as well as

first time we see Patricia’s

close ups of each to cap-

loyalty to Michel as she lies

ture their facial expressions.

about knowing him and then

There are also three shots in

finally says yes she does but

this scene that are repeated

that she doesn’t see him of-

with three characters; Pa-

ten and doesn’t know where

tricia, the officer and at the

he lives - which is not a lie as

end of the scene, Michel; the

Michel doesn’t have a place

shot that is repeated is the

to live. Patricia looks around

characters looking over the

the officer as if to see who

newspaper. It is an interesting

was watching, she also looks

shot that allows the audience

over her classes at the of-

to see the characters ex-

ficer in a similar flirtatious

pression through their eyes.

“oh yes, its Michel.”

// 73

Key Scenes (10) // 74

“Whats a scumbag?”

The final scene features Pa-

from behind. He collapses at

tricia reporting Michel to

the very end of the street.

the police and telling them

He exhales the last of his

where he is staying. Ironical-

smoke as he rolls over onto

ly this scene follows closely

his back. Patricia and the of-

to a scene in which Patri-

ficers all stand over him. The

cia proclaims that she does

two share a back and forth

not think it’s right that peo-

look and for the final time of

ple inform, to which Michel

three things we see Michel

states; “informers inform”.

repeat the sour apple game

The scene in which Patricia

facial expressions and then

is telling Michel she has told

Patricia repeating the Bogart

the police we see an over-

lip rub as she stares down the

lapping of dialogue that was

camera and for the final time

similar to the what we saw in

asks what something means.

the car scene (key scene 5),

This scene sums up the mov-

which is almost the dialogue

ie with three repeated motifs

version of jump cuts. This

seen throughout the film, the

scene also shows Michel say-

lip rub, facial expressions and

ing bad things about Patricia

Patricia’s constant question-

as well as pushing her a bit.

ing of what something means.

A jump cut brings michel

For the third time in the film

onto the street where he

we also have a character look

runs down the street and is

directly into the camera as if

being shot at from behind,

looking at the audience and

Patricia begins to then run

taking away the fantasy of

after him. He stumbles and

being within the film as with

falls as he makes his way

the jump cuts, as in these

down the car lined streets

moments we are aware that

and as the camera follows

there is a camera involved.

// 75

// 76

// 77

“My little American grassed on me. / Oh, my!”

Analysis in the decade

// 78

1950’s in CINEMA Films in the 1950s came in

the use of the French new

all shapes and sizes and of a

wave movement. As well as

wide variety. The shapes and

this, ending a decade of spec-

sizes varied due to the intro-

tacle film to bring people to

duction of television and the

the cinema, Godard came out

need for companies to get

with what was by some per-

people back into the cinema.

ceived as amateurish for the

3-D film came into the cine-

un smooth editing, disorien-

ma as way to encourage peo-

tating angles, and simple take

ple to come to the cinema.

on the lives of two people.

The rebellion against what

This era became known as

was traditional and nor-

the spectacle approach, as

mal in the 1950s, bought

new techniques emerged in

light

order to tempt people to the

of cinema and them be-

cinema. An interest in science

ing

to

the

merely

conventions conventions.

emerged in this era after cold war paranoia and the atomic

The impact this had on that

bomb interest as well inter-

decade of cinema, was the

est in outer space brought

end of spectacle film and the

about science fiction which

beginning of realistic cinema.

this decade is best known for.

It was a turning point in what

As well as science fiction in

people believed they could

this decade, films focused on

do in cinema and how they

character and realistic films.

were “supposed” to do it.

Godard’s lack of regard for

Breathless therefore contin-

conventions and common

ued the 1950 character and

practises, gave a new per-

realistic film focus, through

spective to the film scene.

// 79

Analysis in the decade

// 80

1960’s in CINEMA

Films in the 1960s we saw a continuation of character

Breathless

can

then

be

building and realistic films,

viewed as the turning point

with popular genres of the

of the 50s and 60s in film, in

time being; historical dramas,

the dramatic shift from spec-

psychological films that di-

tacular film to human behav-

verted from monster films to

iour film. It being a plain and

more twisted human behav-

in many ways superficial ex-

iour films, as well as comedy

ample of what film developed

films becoming less gimmicky

to int he 60s, but a stepping

and more elaborate, with

stone in that direction and a

comedy becoming a mecha-

foundation of what lay ahead

nism of truth hiding for what

in the decade on the horizon.

lay just beneath the surface.

At the same time films were Breathless can fit into some

developing rapidly and intro-

of these genres that devel-

ducing far more techy as-

oped in this decade in a very

pects to spy films, as well as

plain way. The movie can

sci-fi and fantasy films includ-

be viewed in some comical

ing higher scale special effects,

aspects of character quirks,

with budgets for films getting

with the satire being that the

higher. In contrast to movies

murder was overlooked but

such as “The time Machine”

always on the surface for the

(1960), you have Breathless,

audience in many ways, just

which is completely stripped

not between the characters

back to the bare minimum of

very often; this leads into the

what film can be with this new

idea of psychological films

movement of cinematogra-

in a non horrific way, with

phy that diverged completely

human behaviour and inter-

to what had been developing

action between characters

in cinema for the last decade.

at the forefront of the film.

// 81

Analysis in the decade

// 82

Challenging GENDER NORMS The film also demonstrates Womens sexual freedom:

an interesting dynamic be-

This decade also saw the end

tween Patricia and Michel in

of the Hays code in the earli-

which Patricia appears to take

er part of the decade. Breath-

the more dominant role. She

less was within the realm of

is making money, whilst he

the Hays code, however the

is not, she tells him no and

movie does allude to sexual

he begs, she asks him ‘if she

natures, such as Patricia hav-

should wear a bra or not’

ing relations with men, un-

and he tells her to ‘do as you

wed, as well as looking in the

like it baby’. This dynamic, as

mirror of a store, checking

with the way the movie was

her midriff area as if seeing

filmed, is in contrast to what

whether she looked pregnant

was at the time normal. And

or not, presumably after just

once again this change in the

having relations with the man

gender roles seen in the film

she had met for drinks. Two

was only the very beginning

things that at the time would

of what the world would

have been frowned upon in

seen in the 1060s, becoming a

general society, due to the

decade of change for women.

importance given to gen-

The decade brought about

der roles and social norms.

the entrance of women in

Such topics could have been

the paid workforce, their

expected

con-

dissatisfaction in the pay gap

troversy at the time, as it

and sexual harassment in the

was

practise

workplace, the decade saw

to show something that

such issues being raised and

was

unaccepted

somewhat resolved. (As of

by the greater population.

today we can see that these

to

spark

uncommon generally

were not entirely resolved.)

// 83

However some of these emerging topics of conversation that would develop in this decade, are brought to light in Breathless, a women in the workplace -Patricia working for the Tribune and going from the paper seller to a journalist in a man’s worldand sexual harassment -interviewing the man and him making some comment towards her because she is female as well as being talked over by men- And once again Godard was able to make a film that revolved around themes that were only to emerge during that decade and say something about them through his characters and their development. The idea that Godard could have foreshadowed the events and topics that were to come about in that decade is also an interesting angle to take it.Â

Analysis in the decade

// 84

The Newspaper Newspapers were for a long

The huge part that newspa-

time the primary source of

pers played in this movie is

getting a commercial or per-

interesting for many reason,

sonal message across. In the

the first being that the original

1950s/60s the demise of the

story of Michel was a short

newspaper was predicted as

prose published in a news-

the TV news went ‘big time’.

paper. Another reason it is

In france, Newspapers have

interesting as majority of the

played a large role in politics,

major climaxes in the movie

economy and society since

occur through the medium

the 17th century.

Howev-

of the newspaper. As well as

er they were censored by

this a newspaper appears to

the Germans during WWII

feature in almost every sin-

and

closed.

gle scene, if not being read

The New York Herald Trib-

just being there. Patricia also

une ran between 1924 and

works for the newspaper and

1966 and was highly regard-

finally it is originally an Amer-

ed for its national, interna-

ican published newspaper.

many

were

tional and business coverage.

It was considered to be a

Newspapers played a huge

republican paper, a prot-

role in general in society and

estant paper and a paper

this idea was carried out

that represented the ethnic

through the film, it was the

melting pot of New York.

only means of finding out

In france, Newspapers have

what was going on at the time.

played a large role in politics, economy and society since the 17th century.

// 85

// 86

“All you need is a gun & a girl” Famous lines of Godard’s belief of what made a great movie. Overall the impact Breathless had on the decade was his own voice, coming through a storyline that was not his but that he adapted, in the way it was filmed, the themes he toyed with and the characters he developed.

The film addressed issues that were not even on people’s minds yet and challenged them. And in this rebellion against

tradition,

Godard

challenged the film industry in general. This rebellion continued in his career in this decade with direct comments and mockery of the industry in his film “Le Mepris” (Contempt). His career was surrounded with controversy as he dared to question norms, test conventions and address challenging topics in his works.

“What’s more ethical: The wo

// 87

omen who cheats, or the man who walks out?”

“The woman who cheats.”

// 88

Contemporary References

In Fashion:

Jennifer Aniston - Vanity Fair shoot 2001 This reference to Breathless is

contemporary image was not

very subtle, seen in the over

taken under the Hays code.

sized mens wear shirt and in the facial expression. As well

However Patricia’s hand in

as this the collar is popped

her shirt is alluding to sexi-

up, however Jennifer Anis-

ness in the same ways Anis-

ton’s is far more sexy as this

ton without being so explicit.

// 89

In Fashion:

Breton Stripes The French New wave is an era that is repeatedly looked back on as a source of inspiration for fashion and the breton stripe is no exception, with the stripe being associated to the movement. The stripes originated from the sailor stripes of the Navy uniform.

If people know of the movement they see Jean Seberg and her breton striped shirt.

// 90

Contemporary References

In Fashion:

The tee shirt gained global fame after the tee shirt was featured in Breathless. And the iconic newspaper logo has returned to fashion recently with the popular trend of print on tee shirts. At the time this shirt would have been very out of the ordinary, not only because it was a shirt that had something written on it, but because it was a girl wearing it. This is now however very trendy.

// 91

// 92

Contemporary References

In Film & TV:

Mad Men - The Jet Set (S2E11) Breathless is referenced in

scene in Breathless between

this episode in 2 ways, first-

Michel and Patricia. It is an

ly in that Joy, Dons lover, is

interesting reference as Mad

reading

Faulkner,

Men is set in the advertising

and the bedroom scene fea-

boom of 1960s but filmed

tures similar angles that were

between

scene in the long bedroom

Breathless comes from 1960.

William

2007-2010,

and

“It’s sad to fall asleep. It separates people.

Even when you’re sleeping together, you’re all alone.” // 93

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Contemporary References

In Music: The Death Set: Michel Poiccard (2001) This band is a heavy metal band, that released an album in 2001 titled “Michel Poiccard� after the character in Breathless. The song on the album called Michel Poiccard, (see lyrics to the right), references Patricia without directly saying her name, this gives it a relatability to more girls listening to the song. As well as this, it mentions cigarette smoke, lying and theft, all motifs taken from the movie. The song is essentially about women that like men like Michel as well as men like Michel who like women who want a bit of the devil in their men as it says in the song. The reference is interesting as the band is heavy metal band which is nothing like the style of the mvoie.

Lyrics: Michel Poiccard, he prefers the old* He prefers the scum, revels in the mold He prefers the grit, rough and tumble bitch Your girls got the itch, for the bad boy situation Devastation, broken hearts but who can stop The yearn for, a little of the devil ahhh!

She yearns for a little, of the devil a la la la la She yearns for a little of the devil ahhh!

You can’t compete, nice and sweet For Michel, she got it dirty deep Cigarette smoke, liar, thief Steals your heart from your purse and keeps Thinking of, scheming of, ways to come up!

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Inspirational Images

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Inspiration & key images

Extreme close up //

This shot is common in horror films as it is used to show intense emotions on the face, it gives a closer interaction between the audience and the characters. It is often used to build suspense. It can also be used to show details within a scene that would either be missed and are of importance.

Close up shot //

This shot shows the emotion of the character through their face. A close up shot occupies most of the frame and is used to elicit empathy and a deeper observation of the emotions, it is more dramatic.

Medium close up //

This shot is eye to eye with the audience, it is closer to the emotions but not close up and is generally from mid chest up in frame.

It reveals only a small portion of the surroundings.

Medium shot //

This can also be referred to as a “social shot� as it is framed from the waist up and the audience is able to see some relation between characters and their surroundings. This shot is also used for over the shoulder shots and in advertising is used often with accessories.

Full shot //

Similar to the medium shot, it shows the characters and how they relate to each other and with the surrounding, in this shot you see the full character, what they are wearing and how they are positioned. Normally action movies are filmed with this shot.

Long shot //

In this shot you are able to see the landscape, but it still establishes a relationship between characters and how they are interacting with their surroundings. It gives more details than the next shot would, but viewer than the last.

Extreme long shot //

Known also as an establishing shot, this type of shot is usually used at the beginning of a movie and is of the exterior, so that the audience can understand the surrounding of the characters and their landscape. It can be seen in thriller action movies and western films. You do not get to see people in this shot much.

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Inspirational Images

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Extreme close up //

This shot is common in horror films as it is used to show intense emotions on the face, it gives a closer interaction between the audience and the characters. It is often used to build suspense. It can also be used to show details within a scene that would either be missed and are of importance.

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Inspirational Images

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Close up shot //

This shot shows the emotion of the character through their face. A close up shot occupies most of the frame and is used to elicit empathy and a deeper observation of the emotions, it is more dramatic.

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Inspirational Images

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Medium close up //

This shot is eye to eye with the audience, it is closer to the emotions but not close up and is generally from mid chest up in frame.

It reveals only a small portion of the surroundings.

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Inspirational Images

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Medium shot //

This can also be referred to as a “social shot� as it is framed from the waist up and the audience is able to see some relation between characters and their surroundings. This shot is also used for over the shoulder shots and in advertising is used often with accessories.

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Inspirational Images

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Full shot //

Similar to the medium shot, it shows the characters and how they relate to each other and with the surrounding, in this shot you see the full character, what they are wearing and how they are positioned. Normally action movies are filmed with this shot.

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Inspirational Images

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Long shot //

In this shot you are able to see the landscape, but it still establishes a relationship between characters and how they are interacting with their surroundings. It gives more details than the next shot would, but viewer than the last.

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Inspirational Images

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Extreme long shot //

Known also as an establishing shot, this type of shot is usually used at the beginning of a movie and is of the exterior, so that the audience can understand the surrounding of the characters and their landscape. It can be seen in thriller action movies and western films. You do not get to see people in this shot much.

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Angles Birds eye view //

Taken from above. Usually seen in photos of food on a plate. It can make objects appear smaller in comparison to their surroundings if taken from high high up. If the object is a person it can give a feeling of being crushed or claustrophobic.

Eye level angle //

Commonly referred to as the pinterest angle, as most photos on pinterest are taken with this angle. Does not increase drama, puts the characters at eye level with the viewer. Used in kids catalogues, and notably in romantic dramas. Makes the audience feel apart of what is going on as they are on the same level.

High Angle //

This is when the camera is looking down on the character or subject.

Makes the subject look smaller and gives a feeling of vulnerability. When there is a conversation between two characters and one character is taller this angle can give that impression more visibly to the audience. Used to make the character feel small and can make them look scared.

Low Angle //

Low angle shots are commonly used in sports such as skating and surfing to capture the whole body and their movement. Low angle makes the character look more powerful and the audience feel smaller.

Dutch tilt Angle//

This is when the camera is given a slight tilt to put the horizon at an angle. This can create tension on screen. This can be used in scenes or crashes or disaster as a way to make the disaster more dramatic.

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Angles Birds eye view //

Taken from above. Usually seen in photos of food on a plate. It can make objects appear smaller in comparison to their surroundings if taken from high high up. If the object is a person it can give a feeling of being crushed or claustrophobic.

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Angles Eye level angle //

Commonly referred to as the pinterest angle, as most photos on pinterest are taken with this angle. Does not increase drama, puts the characters at eye level with the viewer. Used in kids catalogues, and notably in romantic dramas. Makes the audience feel apart of what is going on as they are on the same level.

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Angles High Angle //

This is when the camera is looking down on the character or subject.

Makes the subject look smaller and gives a feeling of vulnerability. When there is a conversation between two characters and one character is taller this angle can give that impression more visibly to the audience. Used to make the character feel small and can make them look scared.

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Angles Low Angle //

Low angle shots are commonly used in sports such as skating and surfing to capture the whole body and their movement. Low angle makes the character look more powerful and the audience feel smaller.

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Angles Dutch tilt Angle//

This is when the camera is given a slight tilt to put the horizon at an angle. This can create tension on screen. This can be used in scenes or crashes or disaster as a way to make the disaster more dramatic.

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Editorial Juxtaposition //

the fact of two things being seen or placed close together with contrasting effect.

Jump cuts

Juxtaposition

Jump cuts in Breathless give

Juxtapositioning is essentially

a distortion of time that can

the print version of a jump

at times be disorientating and

cut, or that is what I’d like

confusing, with time seeming-

the effect to be on paper.

ly moving fast but slow at the

The same effect of disori-

same time. The use of jump

entation and loss of time

cuts in Breathless was seen

should be portrayed to the

as amateurish and a com-

viewer. In print you already

plete contrast to the work

have a detachment by the

that film had put in to create

audience as it is hard to put

smooth and seamless tran-

yourself into the page, into

sitions from scene to scene

the story; unlike in what films

to immerse the viewer in

were supposed to be like.

the film and make them feel

However, i feel like juxtapo-

part of it. Jump cuts however

sitioning in photography, and

had the opposite effect, they

putting two images together

made it clear that the audi-

that are meant to give a

ence was the audience and

different effect and a distor-

the film the film, there was

ment of time will actually

no way for the audience to

in turn give an idea of time

immerse themselves and feel

through the shift in motions.

as if they were in the film.

The shift from one shot to

Jump cuts can give you two

the other will give the same

images straight after each

illusion of time that a jump

other with opposing feelings

cut would give, whilst at the

and effect on the viewer; the

same time in print giving a

immediate contrast is what

time stamp and story to a

creates contrasting meaning.

set of images.

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