201 Midterm

201 Midterm - 1 Roy Parker CTCS 201 Tom Kemper 4125916851...

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Roy Parker CTCS 201 Tom Kemper 4125916851 History of International Cinema II Midterm 2.) When speaking of Jean-Luc Godard’s Masculin-Feminin in the context of the French New Wave styles and cinematic elements, the first thing that comes to mind is the uniqueness of the film’s narrative- by that meaning the seemingly lack of one. The French New Wave brought about films that challenged the standard linear structure of classical filmmaking and were able to break free from the confines of the typical three-act construction of a movie. Godard took Masculin-Feminin and presented a story of young man, Paul, who falls for a girl, Madeleine, and that is pretty much it. The rest of the film explores the life of Paul as he becomes more and more distant from his own friends and Madeleine herself. There are no real fallings out or big climactic moments in the film though as it progresses, no moments where events cause a character to change for better or worse, nothing like anything you would expect to see from a common relationship story. Instead the characters just live in a surrealistic world while living very real nonetheless. But this almost becomes the background for the rest of the film that takes the opportunity of the fact that it is a film to do things that break away from the story. Such as taking long interviews with characters in the world of the film but who the audience has never seen before or will see again, and ask them personal and political questions. 1
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There also are several title cards interjected sporadically throughout the film (such as “This film could have been called the children of Marx and Coca-Cola”). All of these things are straight from Godard himself and inserted into the course of the film, placing him, this film, and his whole body of work as a prime example of the auteur theory, which came about from The
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201 Midterm - 1 Roy Parker CTCS 201 Tom Kemper 4125916851...

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