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In his film LE PETIT SOLDAT, Jean-Luc Godard’s beleaguered protagonist declares that “[c]inema is truth 24 frames per second.” Now something of a cinephilic proverb, the adage has become a catch-all for that which is contained within the frame, sometimes even to the exclusion of all that outside it. This utterance in LE PETIT SOLDAT, Godard’s second film, has proved something of a mission and an obstacle within his expansive career, one that’s been preoccupied with examining truth in cinema as well as manipulating it, thus questioning our very perception of these truths. He does this through images themselves and through sound—the sound, unseen to our eye and often taken for granted by our ear, which lives in harmony and at war with the image. Continue reading on THE FEMALE GAZE.

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