4/8/2023 0 Comments Godard inkslinger![]() ![]() In the nineteen-seventies, he worked with the great camera creator and entrepreneur Jean-Pierre Beauviala (who founded the company Aaton) to develop a lightweight 35-mm. ![]() Making highly sophisticated effects by means of lightweight, hand-scale techniques achieves another effect, one that Godard has been pursuing for forty years: to make, almost casually and with the cinematic equivalent of a painter’s hand, images that have the grandeur and the solidity of the ones that he has always loved in the grand-scale masterworks of the history of cinema. The 3-D effect fulfills two functions at once-to make objects onscreen seem extremely close to the viewer, and to create the sense of extremely deep space. It suggests a movie that embodies the touch of the director, and that invites the viewer to seemingly touch what’s on the screen. Pardon the expression, but, because of his use of 3-D, the film is the ultimate example of a touch screen. It’s a commonplace to talk about a great director’s vision, but Godard is, above all, a director whose greatness is also a matter of touch-of physical touch-and “Goodbye to Language,” is his most tactile film to date. In an interview, Godard explained that it would be a greater blow to him as a filmmaker to lose the use of his hands than the use of his eyes. In Godard’s “King Lear,” from 1987, he has a character describe editing as “handling physically, in both hands, the future, the present, and the past.” In his self-portrait film, “JLG/JLG,” from 1994, Godard dramatizes the importance of the hand in a sequence involving a film editor-a blind editor who edits by touch. ![]() His use of 3-D is itself the film’s big idea. With that simplicity, he opens the art form up to yet another, virtual dimension. (For instance, in making “Hugo,” Martin Scorsese employed a full-time “stereographer,” who did nothing but regulate the distance between the two cameras.) Godard, by contrast, treated 3-D as a device of independent filmmaking he used simple equipment and homemade contrivances (and a crew of just three, including himself) to achieve the effect. Usually, 3-D implies great technical sophistication and a very high budget. “Goodbye to Language” is in 3-D-you’ll have to wear the glasses-but it’s unlike any major 3-D movie, in that it’s not made like a major movie. ![]()
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