Please enable JavaScript.
Coggle requires JavaScript to display documents.
VIVRE SA VIE - EXPERIMENTAL TECHNIQUES - Coggle Diagram
VIVRE SA VIE - EXPERIMENTAL TECHNIQUES
CINNAMONTOGRAPHY
Emotional distance from Nana
Tilt down after Nana dies
An unceremonious death
Introduced by literally having out back to us
Rare close ups, weakens our emotional response
The camera smoothly glides across the screen
OBSERVATIONAL / FLY ON THE WALL SHOOTING STYLE
Camera has it's own agency, moving away from the main even on film and focusing on whatever else it chooses
Long takes
The audience feels every second of the scenes, and feels emptiness or anxiety
No establishing shots, just jumping straight into scenes
Takes the audience out of their dream-like trance
Side profiles with long, obsessive takes
Objectifying Nana, obsessively gazing at her beauty
SOUND
JLG voiceover in the final tableux
The voice of God (for the film) narrating over Nana's suffering
Painstaking attempts to capture real, diegetic audio
The distortion from the record player was how it actually sounded
"Godard attempted to capture the real instead of the realistic"
Strange, bizarre uses of audio at moments
High pitch screeching when the man blows into the invisible balloon
Uncomfortably long silences
After the main theme plays
Nana at the cinema
A disjointed, cold, and uncomfortable world for Nana
NARRATIVE
12 Tableux
Ruins the surprise for the audience
Not feeling the same things Nana does
Emotional distance
An episodic structure, instead of a traditional 3 act structure
Not an action based plot
Instead spends significant time on art, philosophy, life etc (anything other than the plot)
Less characters, less journey, more realism
Big actions that would be heavily featured in a Hollywood film (eg Nana getting arrested and the shootout) are either briefly shown or happen offscreen
Abrupt, unsatisfying ending
A surprise ending removes any sense of journey or satisfaction
Reverse equilibrium (doesn't return to equilibrium in the end)
EDITING
Fades to black and white between scenes
Graceful, peaceful editing
Subtitles replace actual audio
Emotional distance through only reading the words and not actually hearing them
Harshs jump cut, timed to the gunshots
Turning our head around in shock
MISE EN SCENE
Multiple takes for a certain action
(eg hugging)
Bringing awareness of the filmmaking process
Snaps the audience out of their dreamlike state
Real locations, few or no sets
An authentic and believable world of the film, against the Hollywood norm
More things happening in the background than what's onscreen
Less of an action driven narrative, and one on talking when themes and meaning are devised from the filmmaking techniques and the
