Vivre Sa VI Case
Vivre sa Vie
Name:
Professor:
Institution:
Course:
Date:
Bertolt Brecht who was a playwright and director, who developed Verfremdungseffekt, commonly referred to as V-effekt, distantiation or alienation effect. Alienation effect tries to contest emotional exploitation in the theater, instead using an entertaining or surprising bolt from the blue. For example, instead of “associating with” their characters, they may expressively step away removing emotions and show them in a witty and dexterous self-critique. The technology of the theater can be uncovered to the viewers in humorous ways by the director. In the event of unjust social power, the director can bring to play a technique called social gest making the viewers see the relationship in a new light e.g. a household with women may abruptly start to be fast forwarded while they do their chores as the men sit by idling around and yawning. A lot of Brechts methods subsist and are included in modern bourgeois plays and movies. Contrary to this, realistic documentary which is a presentation of the real, where the viewer tends to connect to what they see ending up relating with the number of reality experiences portrayed by the characters in the documentary.
Vivre Sa Vie (1963) is a documentary about a young girl who is keen on seeking her independence and later discovers herself getting in to prostitution. It is presented to the audience in a Twelve Tableaux, therefore undercutting the conformist flawless progression of a films storyline at a very basic level. We see that the first scene resolutely breaks the image-sound element which the audience has learnt to take lightly. Nana, who is the central character, wears an overcoat reaching her head, prohibiting us from associating with her as the target of our desire. Nana sits down at a bar and talks despairingly with Paul, her ex husband. All through the talk, their backs are away from to the camera. This is done to stress the importance on what is heard as opposed to what is seen and this methodical deprivation of the watcher prohibit her or him from getting caught up; which is symbolic of the viewers lack of any intimate information of the characters,—an impact which the conversation strengthens. A mirror that is in front of them lets us see them from a slight distance. Somewhat a more spontaneous act, Godard makes us conscious of the fact this is mirrored reality, adding to the effect of emotional distantiation. A further rationale for making us concentrate on the conversation is that it sets out fundamental fixation of Godard in this film (regular in the all of his ouvre)—which is the concern for