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Jean-Luc Godard is the one of French filmmakers who worked from the end of ’50s and during the ’60s in the trend called as the “nouvelle vague”(New Wave). He(born 1930) wrote film critics for the magazines such as Cahiers du Cinema and made 4 short films before he made 1959 his first feature film 〈A bout de Souffle〉, which was famous first of all through its “jump-cut” and was called “the first nouvelle vague film”. With this film he became a “iconoclast” and “artistic hero” in the film history.
The filmmaking career of Godard is devilled into 4 periods. His 15 films between 1959 and 1967, ie 〈Week End〉belong to the first period. After this last commercial film of him, in which he declared “fin du cinema” and “fin du histoire”, he became a Marxist and made video film. His films are filled with many kinds of references from various art genres and cultural media. Alan Williams characterized it as “omnivorous but cavalier attitude toward cultural artifacts”. He wrote that in his films Godard “liked to quote or reproduce all manner of written texts, pieces of music, paintings, book covers, radio broadcasts, and the like, often in quite arbitrary ways.” These “reproduced” artifacts in his films were used as sign. This ways of “quoting” for his film are resulted from the changed view point to art making through the development of the reproducing technology and the overflow of mass media. The changed attitude and technique like in Godard’s films are found in the Pop Art.
Godard who admired as cineaste the Hollywood films and the American popular art wanted his first color film 〈The Contempt(Le Mepris)〉with the style “Pop Art”. For him this stile was the American one. This film is about the filmmaking in which the in U.S.A. living German director makes a film with the French writer, the American financer and French/Italian staffs. Already this time Godard felt the influence of the giant and unavoidable capitalism, consumerism and civilization of U.S.A. and its threat not only in French film industry but also in everyday life. In his first period he worked with the themes of the capital, political and militarial power of U.S.A. and the attitudes of France to ‘this’ U.S.A. and used for the methods of the Pop Art, which reflects the way of “recycled” life in the mass media society. From the 〈Pierrot le Fou〉of 1965, in the year of the invade of U.S.A. into the Viet Nam War, Godard’s critique to U.S.A. was relateted first of all its militarism and “imperialism”.
In my treatise I analyzed how Godard reproduced the signs and methods in the “cultural artifacts” including the Pop Art and the Popular Art which he acquired through the mass media and used them as the signs to criticise not only the American capitalism, militarism and cosummeristic life style the French reception of it. We can see how he recieved “Pop color” and used it semiologically, and how he represented in his films the image of “Doppelgaenger” in the “recycled” society with the methods and images of the Pop and Popular Art. We can find why his attitude to U.S.A., France and U.S.S.R. has changed and how he made it visible in his films.
The filmmaking career of Godard is devilled into 4 periods. His 15 films between 1959 and 1967, ie 〈Week End〉belong to the first period. After this last commercial film of him, in which he declared “fin du cinema” and “fin du histoire”, he became a Marxist and made video film. His films are filled with many kinds of references from various art genres and cultural media. Alan Williams characterized it as “omnivorous but cavalier attitude toward cultural artifacts”. He wrote that in his films Godard “liked to quote or reproduce all manner of written texts, pieces of music, paintings, book covers, radio broadcasts, and the like, often in quite arbitrary ways.” These “reproduced” artifacts in his films were used as sign. This ways of “quoting” for his film are resulted from the changed view point to art making through the development of the reproducing technology and the overflow of mass media. The changed attitude and technique like in Godard’s films are found in the Pop Art.
Godard who admired as cineaste the Hollywood films and the American popular art wanted his first color film 〈The Contempt(Le Mepris)〉with the style “Pop Art”. For him this stile was the American one. This film is about the filmmaking in which the in U.S.A. living German director makes a film with the French writer, the American financer and French/Italian staffs. Already this time Godard felt the influence of the giant and unavoidable capitalism, consumerism and civilization of U.S.A. and its threat not only in French film industry but also in everyday life. In his first period he worked with the themes of the capital, political and militarial power of U.S.A. and the attitudes of France to ‘this’ U.S.A. and used for the methods of the Pop Art, which reflects the way of “recycled” life in the mass media society. From the 〈Pierrot le Fou〉of 1965, in the year of the invade of U.S.A. into the Viet Nam War, Godard’s critique to U.S.A. was relateted first of all its militarism and “imperialism”.
In my treatise I analyzed how Godard reproduced the signs and methods in the “cultural artifacts” including the Pop Art and the Popular Art which he acquired through the mass media and used them as the signs to criticise not only the American capitalism, militarism and cosummeristic life style the French reception of it. We can see how he recieved “Pop color” and used it semiologically, and how he represented in his films the image of “Doppelgaenger” in the “recycled” society with the methods and images of the Pop and Popular Art. We can find why his attitude to U.S.A., France and U.S.S.R. has changed and how he made it visible in his films.
목차
Ⅰ. 1959년부터 1967년 사이의 고다르 영화와 Pop(ular) Art
Ⅱ. 고다르에게 있어서 팝 아트와 그것의 활용
Ⅲ. 고다르 영화에서“미국”과 프랑스 이미지의 변화와 그것의 끝: 팝 아트, 그리고 회화와 자본주의와의 결별
참고문헌
Abstract
「장 뤽 고다르 영화 속의 Pop(ular) Art」에 대한 질의
참고문헌 (12)
참고문헌 신청
1. [학술지(정기간행물)] - 한상준 번역 / 1991 / 『장 뤽 고다르- 소비사회의 영화와 이데올로기』
2. [학술지(정기간행물)] - 모나코 / 1996 / 뉴 웨이브 II
3. [학술지(정기간행물)] - 김정희 / 2001 / 장 뤽 고다르의 <주말>(1967): 1960년대 미술과 문화에 대한 해프닝으로서의 영화 40 : 51 ~ 97
4. [학술지(정기간행물)] - Aumont, Jacques / 2000 / The Fall of the Gods. Jean-Luc Godard's Le Mépris(1963) : 174 ~ 188
5. [학술지(정기간행물)] - Bauer / frankreich19591990 / Kunst und Kuenstler im Film : 111 ~ 119
2. [학술지(정기간행물)] - 모나코 / 1996 / 뉴 웨이브 II
3. [학술지(정기간행물)] - 김정희 / 2001 / 장 뤽 고다르의 <주말>(1967): 1960년대 미술과 문화에 대한 해프닝으로서의 영화 40 : 51 ~ 97
4. [학술지(정기간행물)] - Aumont, Jacques / 2000 / The Fall of the Gods. Jean-Luc Godard's Le Mépris(1963) : 174 ~ 188
5. [학술지(정기간행물)] - Bauer / frankreich19591990 / Kunst und Kuenstler im Film : 111 ~ 119
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