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I recently watched two movies from Jean-Luc Godard that I did not know before, and I was really impressed by two sets which compose interesting landscapes which shove cinema's etiquette.
First one is from
Pierrot le Fou (1965) and dramatizes a stand alone piece of highway in the middle of a field and from which a car fell without any indication for the spectator how it did go up on it...
Second one is from
Tout va bien (
All's well) (1972), in which Godard questions the mutation of 1968's social movement with the take of a factory by its workers. The administrative department of the factory is shown as a section on which the spectator can read a caption:
One is right to sequester bosses. Unlimited Strike. Since then, some directors did follow this apparatus, I am thinking in particular of Chan-Wook Park in
Old Boy, but I am pretty sure that Godard is the first one to establish it (if anybody has more information about that feel free to comment on it).
In addition of those two movies, I could not resist to also insert Godard's shoot of the
Villa Malaparte in
Le Mépris (
Contempt) (1963), which is more classic but which, in its remoteness (on a cliff with the see around), succeeds to create for the narration, a setting extracted from reality.
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