After the Second World War, American movies occupied the French market. Western films, crime films, and B-level films poured into the French market. Breathless was like a detailed investigation report that revealed the characteristics of French films in the shadow of Hollywood. The design of the leading actor in the film has the feature of Hollywood character, he imitated the image of Humphrey Bogart in the typical Hollywood crime film.
The scene of Michel standing in front of Bogar’s poster in front of the cinema maps his self-seeking psychology, and then the anachronistic drama fades out stress the absurdity of this behavior.
The shot with the police shooter lasted for ten seconds and was divided into five shots, starting from the close-up of the face of the male lead to the hand, and finally to the gun, the police fell to the ground. Compared with the typical Hollywood crime film, His criminal behavior is decisive, but the motivation is not obvious enough. The last chase shoot of the film was also deliberately presented to be very long, the actor Wolverine fled on the street, which seems can never see the end, and fell to the ground when he was just run out of the street.
Such psychological and behavioral activities can be explained by Lacan's mirror theory. He believes that "the human subject is divided and never complete." The long indoor drama of the male and female protagonists also shows a process of self-seeking. In this scene, the mirror is also used to portray the confused psychology of the two characters.
For the use of the Camera language in the film, book Comprendre Godard mentions that ‘Godard revolutionized the practice of film editing with "Exhaustion." On the one hand, he rediscovered the most dazzling short-lens montage in the avant-garde film of the 1920s, and then casually used the segmentation lens which was opposite to the current style. Finally, through practice, it proved that the space coherence shackles on the professional's head are ridiculous.’
The method of jump-cut early originated when the film was cut, and people had to reconnect the cut ends to complete the image, and a screen jump occurred during the next playback. George Mérieux, the early use of the jump-cutting technique in the shot of the rocket landing on the moon in Le Voyage dans la lune is very bold. Later, the technique of skipping was gradually replaced by continuous editing.
Some example of the clever use of jump cut
Patricia's jump cut when getting on the bus, the traditional shooting technique will cut out after the first shot, giving a reaction lens, and Godard cuts two seemingly incoherent shots together. This is a way of covering up space and time.
Walter Murphy says that ‘Although the film experience is obviously unrealistic, it is. still seen as a reflection of reality, so it is necessary to follow existing rules.’ He proposed six standards for excellent editing, and the four most important ones serve the emotional line, the storyline, the rhythm and the audience's line of sights.
‘Strictly speaking, a paragraph shot is a continuous shot, which is generally quite long. It continuously records the next entire shot group, that is, a series of scenes characterized by the unity of time, space, and plot.’ Comprendre Godard. This jump cut perfectly fits the standard of these excellent clips. The difference between the other parts of the picture is not large. The only change is the movement of the actors. There are similarities in scene scheduling. The cut-cut clip keeps the character in motion, omitting the procedural part, skipping the two-dimensional space on the screen and crossing the space of the free dimension. The viewer’s line of sight is actively looking for the previous focus in the picture.
According to the eye following pattern, in the next shot, a bicycle passes through the background, accompanied by ringing. The beginning and the end of the actress's movements were completed, and the gentle rhythm of the passages was enhanced. The relationship between the two became the focus of the audience, then the relationship between the characters was used to promote the development of the story.
Jump-cut reinforces the enumeration of the lens 108 to 119 Michelle: "I like a girl, she has a very beautiful neck, very beautiful breasts, very beautiful voice, very beautiful wrist, very beautiful forehead, Very beautiful knee...but she is very timid."
The spatial separation in several shots is not obvious. The audience's gaze is attracted by the female host. Her position in the picture does not change much, only the difference in background.
Godard enhanced the emotion and rhythm of the story with the continuity of space.
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