Not Signed-In
Which clippings match 'Voice-over Commentary' keyword pg.1 of 1
19 FEBRUARY 2017

Jean-Luc Godard's first film: Une Femme Coquette (1955)

"The film, based on a Guy De Maupassant short story, was Godard's first shot at a narrative. It's often listed as lost by biographers, and the find is tremendously significant for French New Wave enthusiasts. There are also several easter eggs in the work for Godard fans: the director cameos two minutes in, the story is later re-adapted in Godard's 1966 film 'Masculin Féminin,' and the work itself is credited to his film-critic pseudonym, Hans Lucas.

Just five years after shooting 'Une Femme Coquette,' Godard would release his early masterpiece, 'Breathless.' There is so much of the energy of that latter work in this earlier vision, shot on a borrowed 16mm camera."

(William Earl, 18 February 2017, Indiewire)

TAGS

1955 • A Flirtatious Woman (1955) • based on novel • black and white • Carmen Mirando • coquette • early work • flirtatious • French filmmaker • French New Wave • French-Swiss film director • Genevagesture • Guy de Maupassant • Hans Lucas • Ile Rousseau • imitation of an actioninfluential filmmakerJean-Luc Godard • Le Signe (Guy de Maupassant) • Maria Lysandre • non-sync sound • prostitute • Roland Tolmatchoff • short fiction film • short film • Swiss filmmaker • Switzerland • The Signal (Guy de Maupassant) • Une Femme Coquette (1955) • voice-over commentarywoman

CONTRIBUTOR

Simon Perkins
29 DECEMBER 2013

Voice Over: a short film about what is to become

1
2

3

4

5

CONTRIBUTOR

Simon Perkins
03 MARCH 2011

The camera's relation to reality is addressed directly by the documentary filmmaker

"The issue of the camera's relation to reality, which permeates the fiction film, is addressed directly by the documentary filmmaker, who has always aspired toward capturing the sight and sound of life in an unobtrusive and impartial manner. The ambivalent nature of the medium, which excludes the human element as an intermediary but nevertheless implies a subjective viewpoint, gives rise to issues concerning the camera's legitimacy to record the 'obscene' object of reality. Questions about what degrees of faithfulness to the truth establish a film as a documentary, and whether such faithfulness is even possible, have accompanied the history of documentary filmmaking since its origin.

In the meantime, partly due to the technological advancements, documentary underwent a revival, and experimentations with the new technology abounded. The answer of 'direct cinema', which included Richard Leacock, Donn A. Pennebaker and the Maysles brothers as its representatives, was a purist approach in which the impact of the observer on the observed had to be kept to a minimum. Interviews, voice–over commentary and any other forms of interaction with the subject matter were considered to contaminate the result of the observation. Others like, Pierre Perrault, used the new equipment to draw meaning from the seemingly insignificant and the quotidian, attempting to find greater meaning in and unity to the whole by observing and bringing together the small elements of everyday life."

(Barbara Bruni, Senses of Cinema)

1

TAGS

ambivalence • Andre Bazinauthorial intrusion • Chronicle of a Summer • cinema veritecommentaryconstructed realitydirect cinemadocumentarydocumentary filmmakerdocumentary filmmakingdocumentary truthDonn A. Pennebaker • Edgar Morin • ethnographiceveryday lifeexperimentationfiction filmimpartiality • intermediary • interviewJean Rouch • Lightning Over Water • Maysles Brothersmedium • Nicholas Ray • observation • Pierre Perrault • realityRichard LeacockSenses of Cinema (journal)subjective viewpointtechnological advancements • The Human Pyramid • truth • unobtrusive • voice-over • voice-over commentary

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.