By Ramona Fotiade
In this unique advisor to the movie, Ramona Fotiade analyses extensive its creation and reception, in addition to its mise-en-scène and modifying. She situates À Bout de souffle in terms of Godard's filmography and demanding writings as much as 1960, concentrating on a story and visible discourse that's now pointed out with a particular strand in postmodern French cinema. She additionally explores the effect of Godard's early counter-narrative and visible recommendations at the self sufficient American filmmakers and the French Cinéma du glance in the course of the Eighties and 1990s.
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Pierre Braunberger, Cinémamémoire, with a preface by Jean-Luc Godard, Paris: Centre Georges Pompidou/Centre national de la cinématographie, 1987, p. 166. MacCabe, op. , p. 21. , 1970, p. 170. As Colin MacCabe (op. , p. ’ Undated letter from Jean-Luc Godard to François Truffaut, archives of Les Films du Carosse, file ‘Jean-Luc Godard’, quoted in English from Antoine de Becque and Serge Toubiana, Truffaut. A Biography, translated by Catherine Temerson, Berkeley/Los Angeles: University of California Press, 1999, p.
Five o’clock’ Patricia replies. On several occasions throughout the film, temporal cues intervene with surprising, almost emphatic, precision, punctuating every step of the action. Michel constantly asks the time, and the fast pace of editing during certain sequences or even within the same shot highlights not only the character’s race against the clock, but also the film’s overall deployment of the action-thriller narrative conventions. Explicitly coupled to the protagonist’s obsession with time is the recurrent thematic postulation of death and impossible love, a recognisable leitmotif in all Godard’s later work, with very few exceptions.
G. the off-screen sound of the motorbike as Michel looks out of the window to the rear after his alligator clip has broken), the editing of the last four shots (46–49) proves even more disorientating than the previous use of jump cuts in the car chase scene. As Michel walks over to the open window on the passenger’s side and reaches into the glove compartment for something we assume to be the gun, an off-screen voice says: ‘Don’t move or I’ll shoot you’. However, instead of cutting to the policeman as the source of the voice, the next image confronts the viewer with a startling ‘leap’ between shot scales.
À bout de souffle by Ramona Fotiade