tag:blogger.com,1999:blog-6056468613032447619.post3060873376320986295..comments2023-11-29T20:57:42.082-08:00Comments on GODARD MONTAGE: Diegetic Philosophy: Dostoyevsky and GodardJLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-6056468613032447619.post-30265009529977518332011-09-20T19:30:34.792-07:002011-09-20T19:30:34.792-07:00I also think it could be interesting to utilize th...I also think it could be interesting to utilize the arguments of Bakhtin and his circle in regards Dostoevsky to Godard. See, in particular, V.N. Voloshinov's excellent study of Free Indirect Discourse in MARXISM AND THE PHILOSOPHY OF LANGUAGE. These writers are interested in the way the voice of the author-narrator and the voice of the characters often blend or merge in Dostoevsky producing not a purely indirect discourse (words of the author-narraor) or a purely direct discourse (words of a character) but a free indirect discourse between author-narrator-character. We get something akin to this in VIVRE SA VIE where Godard's own existential ruminations are articulated not only by his wife Anna Karina, who speaks them for him, but also in his experimentation with cinematic form (such as his use of POV shots, where we come to share the perspective of the character as well as with the camera).<br /><br />SamSaishigohttps://www.blogger.com/profile/16405468612378045542noreply@blogger.comtag:blogger.com,1999:blog-6056468613032447619.post-51309697873106846822011-09-20T19:09:19.060-07:002011-09-20T19:09:19.060-07:00Marvelous post, Ben. Your point about Nana's r...Marvelous post, Ben. Your point about Nana's remarks to Yvette, and their relation to the images that follow (rendered through POV cutting) is compelling. I wonder though why the parallel scene to this one for you is the later montage scene rather than the one that immediately precedes this one: Nana's first "date," also presented to us through a POV structure. See my earlier post on "Découpage in VIVRE SA VIE" (September 20, 2010) for a brief study of this scene. Together they raise interesting questions about the POV structure itself and different ways of embodying/inhabiting it (or inviting the viewer to participate in it).<br /><br />SamSaishigohttps://www.blogger.com/profile/16405468612378045542noreply@blogger.com