고다르의 <네 멋대로 해라>의 자기지시성 (The Self-referentiality of Godard’s Breathless)

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초록

Godard’s early films are known as being much influenced by Brecht’s Epic Theatre, whose ‘estrangement effect’ aims at distancing the audience from the theater by means of unconventional devices. In this vein, Silvio Gaggi ascribes the self-referentiality of Godard’s Breathless to the Brechtian mode, which employs devices designed to foreground style and remind the audience that what it is experiencing is artifice. On the contrary, Allen Thiher takes Godard’s early works, including Breathless, as the pop mode—corresponding to Gaggi’s Pirandellian mode—which self-consciously creates works that are essentially ironic works about other works.
The self-referentiality of Breathless however can be exactly explained in terms of neither of the two modes. For in Breathless Brechtian devices serve to present a world where fiction is mixed with reality, rather than to foreground style and hence differentiate between them. On the other hand, the parody working in Breathless is not that of other works or genres, that is, of fiction but that of reality in which Godard believes the mass media causes individuals to accept stereotyped fictions uncritically. The film is self-referential in that being a form of the mass media in itself, it parodies the role of the mass media and raises questions about the nature of films.

영어초록

Godard’s early films are known as being much influenced by Brecht’s Epic Theatre, whose ‘estrangement effect’ aims at distancing the audience from the theater by means of unconventional devices. In this vein, Silvio Gaggi ascribes the self-referentiality of Godard’s Breathless to the Brechtian mode, which employs devices designed to foreground style and remind the audience that what it is experiencing is artifice. On the contrary, Allen Thiher takes Godard’s early works, including Breathless, as the pop mode—corresponding to Gaggi’s Pirandellian mode—which self-consciously creates works that are essentially ironic works about other works.
The self-referentiality of Breathless however can be exactly explained in terms of neither of the two modes. For in Breathless Brechtian devices serve to present a world where fiction is mixed with reality, rather than to foreground style and hence differentiate between them. On the other hand, the parody working in Breathless is not that of other works or genres, that is, of fiction but that of reality in which Godard believes the mass media causes individuals to accept stereotyped fictions uncritically. The film is self-referential in that being a form of the mass media in itself, it parodies the role of the mass media and raises questions about the nature of films.

참고자료

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