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Godard’s cinema was a model for Bertolucci and his Prima della rivoluzione (1964) is Bertolucci’s most godardian film. It has Godard’s looseness, openness and sense of the casual, his episodic structures, jump cuts that compromise continuity creating associations and rhymes and doublings rather than a narrative of consequence, linearity and causation. Classical cinematic rules are overturned and violated. The Bertolucci film, like Godard’s films, digress from a centre, deviate, wander, migrate.


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