in Film modernism
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Alain Bergala distinguishes between the disposition (the arrangement of a scene) and the attaque (the shooting of it in the choice of angle, distance, perspective, focal length). For the most part, in most fiction films, these two elements come together. In Godard’s case (and also in painting), the two procedures are usually disjoined so that the disposition and the attaque are at odds with one another. - allowing for improvisation, a sudden sight, the invisible becoming visible, an inspiration, a matter of an instant, a moment. In most films the scene is derived from its function in the script and the shot from its function in the scene, and the disposition from its function in the shot and the shooting from the readability of the disposition. Godard is resistant to this logic.


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