Non-diegetic dialogue is relegated to the male perspective, and in one instance is Godard himself addressing the audience. Throughout Vivre Sa Vie off-screen dialogue is recited and utilized as a way of conveying sociopolitical ideals. Voiceover is a device employed extensively by both directors, which exemplifies their diverging of motifs. While all shared techniques would purvey variance upon evaluation the prevalent use of voiceover, location, gender roles, and other self-reflexive characteristics provide the clearest distinction. After extrapolating difference from similarity Wong’s work materializes as predominantly personal while Godard is differentiated by his predilection for concentrating on the more overarching societal implications of the film and its self-reflexive nature.Īnalyzing the relationship of the two filmmakers disseminates thematic elements from the formal, meaning Chungking engages the spectator with the same techniques as Godard (jump cuts, voiceover, references to literature, inclusion of pop culture, Brechtian proclivity, narrative/ temporal discontinuity) but the subtext derived indicates a stark contrast. In comparing reoccurring themes, motifs, stylistic tendencies, and utilization of varying filmic devices in Vivre Sa Vie (1962) and Chungking Express reveals an ironical separation by way of assimilation emerges. Though both approaches and respective renditions utilize an eclectic mix of narratively discontinuous and reflexive bravado, the product of each director remains distinct. One of the most prolific stylistic syntheses of two filmmakers can be observed in Jean-luc Godard and the stylistic markings of his work within Wong Kar Wai’s Chungking Express (1994). Porter to Griffith, all the way to Tarantino and Lynch, these filmmakers are always and forever indebted to their predecessors, but manage to evolve to formulate a distinct style enriched with pre-existing elements of cinema. As film began to evolve from simply a new technology into an artistic facilitator, and eventually a superlative medium, the concept of the auteur emerged.
The Lumiere brothers were inspired by photography, by painting, and immensely through properties of their environmental surroundings. Every piece of art is grounded and conceived as a result of predating influence and inspiration- cinema is no exception.
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