Jean Luc Godard?s Weekend as Didactic Self-Reflexive Cinema Essay

harmonize to Stephen Prince in Movies and Meaning an Introduction to Film, Screen Reality is a imagination that pertains to the principles of time, space, character behavior and audiovisual design that filmmakers systematically organize in a given film to create an ordered world on-screen in which characters may act and in which a narrative may unfold.(262) matchless mode of movie housetic screen reality is self-reflexivity. While the other lead modes of screen reality seek to sway the audience into accepting the authenticity of the world and the story that argon on screen, the self-reflexive sort deliberately attempts to pullulate down the illusion of the cinema. In doing so, it reinforces the awareness that film is socially and culturally constructed and that at its core, film is art, not reality. There are both purposes in using self reflexive techniques, either for comedy or with the rely of addressing a social or cultural issue. (Prince 290)The more familiar of the two mod es of self-reflexive cinema make use of a comedic hyphen, and whats more, many contemporary comedies follow comedic self-reflexivity (Prince 291). These comedies do so because it facilitates a more personal rapport surrounded by the characters and the audience, thus amplifying the mode that can be seen in the narrative. However, there are certain limitations to comic self reflexivity. By presupposing the audiences familiarity with the humor or references in the narrative, the mode risks reaching an audience that does not tie in to the material presented. Some films are unable to meet a huge audience because their narratives are constructed from inside jokes that can not be silent by all who will see it. (Prince 290)The other mode of self-reflexive cinema that addresses an issue of importance is commonly known as didactical self-reflexivity. etymon in the 1920s with Bertolt Brecht, a playwright who wanted to craft plays that were contemplative of society and that made sure th e audience was aware of this. He wished that his micturate inform the public and impact social change, to share his perception without a screen. Seeing realism as an impediment that kept the audience from perceiving the put across of the art, Brecht sought to devise theater that was uncompromisingly revolutionary and candid. This new style was characterized by the employment of titles to reveal the next action, in the way tha... ...aken from a scene. For instance, a title passes on screen reading "World / 3", just before the African and Arab workers explain their optimism and their reasons for accepting the necessity for violence. As seen finishedout the film, Godard uses these titles as a device to Introduce and set shoot a given scene from the surrounding context of the narrative, tell viewers what it is they are about to see, remind viewers of the filmmakers intrusion on the narrative, and emphasize the way the filmmaker has chosen to shape and organize the structur e of the film. Filmmakers alike(p) Jean Luc Godard employ the devices of the self-reflexive mode of screen reality because they do not value the mode of realism or expressionism to adequately convey rough social truth or ideal. In choosing a didactic style of representational reality, he sought to guide and direct the viewer through the key representations and dialogues within the film. Godard believes that it is necessary for the audience to read the film as it must be without misinterpretation and as such has employed didactic self-reflexive devices which facilitate a clear reading of the film. The film is the message for Godard.