Nouvelle Vague: 50 Years On Conference. Part 2: “Jean-Luc Godard: Continuity & Critique”
For many people, especially those recently introduced to the Nouvelle Vague, Jean-Luc Godard is the personification of French New Wave. That look, those sunglasses, even the way he grips his cigarette, like a toothpick from a martini glass. All of these things say “rebellious”, “french” and “cool”.
Godard is both icon and iconoclast and, like Brigitte Bardot, his style is as equally recognisable as his films. Perhaps, then, it is only fitting that the conference moved directly from a discussion of Brigitte to a discussion of Jean-Luc. Except this time we were the recipients of two distinct points of view.
The second lecture of the conference was in fact a double feature: a lecture by writer and film critic Chris Darke, followed by one from film studies professor Yosefa Loshitzky. Afterwards, the audience would be able to directly address questions to both and the speakers could then discuss those questions and respond to both the audience and one another. Not precisely a panel, but close enough.
Chris Darke’s talk was entitled “Following Godard: some thoughts on JLG-watching” and, thankfully, presented exactly the sort of thoughts I had intended to fill my notebooks with – highly analytical, well imagined: theory. Before I begin discussing it, however, it’s probably worth mentioning that Chris Darke has written a book, a monograph on Godard’s Alphaville, which is going straight onto my Amazon wishlist. There’s an excerpt from it here.
But back to the lecture. Darke opened his presentation with this corker: “Jean-Luc Godard had more ideas in a single one of his films than most filmmakers come up with in several lifetimes.” Provocative, but I happen to think he is right. Yes, some of Godard’s later films, especially, are more obtuse (and okay, some of them are downright awful), but after watching a clip from Two or Three Things I Know About Her at the end of Darke’s talk, all of us in the audience knew what he meant. Godard is the Thomas Edison of filmmaking. Even in that single film, the sheer quantity of original ideas, in both in content in style, boggles the mind. Not all of his films are masterworks, but piece by piece there is no denying his genius.
“Godard in Space” (& Time)
The bulk of Chris’s talk was focused on Godard’s cinematic relationship to the concepts of space and time. Classical cinema, said Darke, answered the questions of space and time in narrative by simply ignoring them. If a man walks across a room, he is shown walking across a room – but only for as long or in such a way that his action relates in context to a pre-existing plot. Or else, his walking across the room is considered unimportant, and is not shown within the context of the narrative at all. The narrative is just what is relevant to the plot, in sequence, and nothing more. The fact that memory does not usually happen in sequence, or that it is usually emotionally connected to images, rather than logical sequences, does not matter to classical cinema. Neither does the fact that reality, the obverse of memory, is not selective on the basis of relevance. Real human lives are not plotted. Real human lives unravel through time, are always unravelling, and yet they still have meaning. If film is a medium of images rather than just words or text, and thus has the ability to represent experience and thought in a way that words and language and literature never can, why do we treat time and space in films in the same way that we treat it in books? The Nouvelle Vague, and through Godard all modern cinema, reposes these fundamental questions.
There were a few other points that Darke made that I found interesting. Because I am very aware that I still need to fit in a discussion of Yosefa Loshitzsky’s lecture, I’ll just briefly bullet point them below.
- A recurring feature of recent discourse with Godard is him saying that the New Wave was not the start of something but the end of something – that is the decline of the film studio and the coming of television. The Nouvelle Vague were lucky enough to ride out the last breakers of the wave, but the age of cinema is perhaps over forever.
- What follows cinema? “Video thinks what cinema creates.” I don’t remember that Darke expanded on this phrase, but I took it to mean that video is a more personal, reflexive medium than cinema. It takes what cinema has created and “mulls it over”, recogitates it at the command of the Play button, can be fast forwarded or rewinded like memory, and is designed to be enjoyed alone, or in conversation with a small group. Any other thoughts as to what this might mean?
- There was a small section on Godard’s use of sound in his movies, and how a disjoint between what is happening on the soundtrack and what is happening on the screen can also be used as a stylistic device to add or subtract emotion or meaning. Darke: “This is where things happen – on the boundaries between picture and sound.”
- Finally, I think there was a question from the audience about Hitchcock, who Godard and most of the New Wave very much admired. The point was that, when it comes to directed plotlines and straight-forward classical narratives, there’s nobody more eager to push the audience from scene to scene than Hitchcock. So why was he so admired by the New Wave when they rejected this conception of time? Darke’s answer was that: as far as the Nouvelle Vague were concerned, “What we remember from Hitchcock is not plot but images.” In other words, the New Wave was more fascinated by Hitchcock’s impactful use of images than his way with narrative.
Just Who Had Contempt For Whom?
Yosefa Loshitzsky was up next and started her lecture with the famous opening scene from Le Mepris, of Bardot’s nude body and her assessment of it, through the eyes of her lover. Firstly, I’d like to say that while I didn’t wholly agree with Loshitzsky about Godard’s misogyny, I did learn quite a bit from her and she had some interesting points.
Getting back to Bardot’s nudity…. 🙂 Loshitzsky’s lecture revolved around Le Mepris/Contempt, and the many meanings the title of the film held for Godard and his relationship with the studios, with Bardot, with women, and with cinema in general. One of the main ideas, however, if not the main idea, was that the contempt in Le Mepris was really Godard’s contempt for Brigitte Bardot (as an actress, not Camille’s character in the film). I don’t really agree with this, but as I think that maybe the topic of Godard’s alleged misogyny deserves a whole post of it’s own, I’ll skip over it for now. I’ll skip over it so that I can focus on the things I did like about Loshitzsky’s talk.
Here’s that opening scene if you haven’t seen it in a while. You’ll need to skip to around 1:57 –
I liked watching the opening of Le Mepris on the big screen, and with fresh eyes. Even before the lecture began, I noticed two things for the first time: 1) the camera seems to deliberately move away from the body part that the naked Camille is asking her husband to praise, and 2) this somehow makes Camille’s definition of her body as “all of her” take on a shade of irony. Or was I imagining it?
Apparently, I was not. Loshitzsky also pointed these things out to us, and then went on to tell about the production of Le Mepris – how the producers had complained to Godard that there was not enough of Bardot’s naked body on screen and how Godard had included this initial scene as a kind of “up yours” – well, it all kind of made more sense. Loshitzsky was trying to make it into a case of transference: Godard’s hatred for commercial moviemaking displaced onto Bardot. But I don’t think that had anything to do with this. This is not Godard saying that woman are just the sum of their parts. Otherwise the camera would have lingered on each pornographic angle as it was being described. This is Godard saying this film is more than just the sum of its parts. “Hey!” he seems to be saying as he switches on the technicolour on Bardot’s behind (while she is talking about her shoulders, unseen). “Is this what you studio men wanted, eh? Some cheap shot by shot softcore pornography? Well, fine. There you go. I hope you enjoyed making me your whore too.” Misogynist or no, I think it is a testament to Godard’s integrity that he does not treat Camille like this in the rest of the film.
I also enjoyed some of the backstory Loshitzsky provided about Godard’s own life and the autobiographical flavour of Le Mepris. She told a story about how Bardot wrote once that she hated making Le Mepris because Godard asked her to walk “more like Anna Karina”. Anna Karina was still Godard’s wife at the time, but their home life was deteriorating, and art was imitating life.
I wish I could say that the end of the “panel” was a rousing argument between Chris Darke and Yosefa Loshitzsky about whether it would be better to typify Godard as a boundary-busting intellectual or as a raging woman hater, but sadly the two speakers interacted hardly at all, instead just responding to the off question from the audience. Most of these questions were very boring. Oh well. Missed opportunity for what could have been a fantastic smackdown.
Next up: Antoine de Baeque! I can’t wait!