s commitment to cinema. Godard’s films demonstrate innovation and evolution, presenting cinematic techniques that have evolved through several different aesthetic forms. As Keller (1930) points out, Godard’s films have passed through various stages that have deviated from traditional Hollywood reference points and demonstrating several different forms of experimentation that reflect his own view of life and the events that transpire within it. For example, Godard’s choice of black and white, his unabashed transmission of blatantly political views in his films and his use of a filmmaking style that incorporates several different elements such as “narrative cadenzas, historical scrutiny, visual poetry, the literary citation”, yet overall containing these within a dominant frame of contemplation. Keller (1930) also corroborates the views of MacCabe (2003) that Godard made films of great beauty and complexity, which only evolved over time into greater and more complex works of art with the passage of time. Godard’s films in effect are a systematic reflection on the notion of reflexivity in cinema. A work of art such as a film can demonstrate a distance from reality; it can be one in which the work appears to turn back and speak about itself. It heightens the sense in the viewer that what is being viewed is not reality itself, but that there is a reality that exists beyond what is playing out on the screen. The Works of French Director Jean Luc Goddard from the Perspective of the Auteur Theory.
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