Breathless (Jean-Luc Godard, 1960) is crime/drama that follows a little thug who considers himself to be a suave bad guy – an imitation of Humphrey Bogart.

Jean-Luc Godard used many different techniques that challenged the conventional ways of cinematography and editing.

For example, one of the most important uses of cinematography and editing is the jump cut. A jump cut is when multiple shots of the same scene are put together with to give a jumping movement effect. The camera usually has hardly moved. This breaks the 30 degree rule. The 30 degree rule states that different shots of the same subject must vary by 30 degrees relative to the subject, however jump cuts do not follow this rule. Godard consciously chose to use jump cuts because he knew it would seem abnormal and different. He chose to challenge the conventions of cinematography to separate his film from others.  This is seen in multiple scenes, for example when Michele and Patricia are driving in the car. The camera angle is shot from Michele’s perspective, additionally since his voice is constantly being played over the jumping cuts it causes the audience to feel as if they are Michele.  Additionally, the use of jump cuts creates a compressed video for us. As if it is showing us highlights of the conversation. The change of background in the jump cuts creates a disjointed feeling, once again this was used to separate “Breathless” from ‘Normal’ cinema.

Not only that, but Godard did not use any sets for the movie. All the filming was done in France. This mean Godard was free from the studio – he had no constraints holding him down. This was done largely to reduce the cost, Godard did not have a lot of money, therefore he had to compromise in many aspects. Additionally the film was supposedly shot silent with a sound team adding it in later on. This meant that Godard did not have to worry about artificial lighting or noisy cars. He had a lot freedom for creativity.

Another very obvious difference in the film is that it was filmed completely in black and white. Godard did this mostly to reduce costs as colour film was very expensive however it challenged a few conventions because in 1960 nearly all films were being created in colour. This separated Breathless, it showed that you could have a proper film with a narrative with no set, no expensive lighting and no colour. It proved that it was purely up to the directors creativity and the actors portrayal of the character that made the film how it was supposed to be. For example: this is quite sensual scene and therefore it would make sense to represent this with coloured lighting like a passionate red or a sombre pink. However by shooting the scene in black and white he challenged the norms and Godard was able to establish himself as an impressive film director.  Once again it showed off his talent because he was able to convey effects and senses and tones in other ways. Such as through the actors or through the editing.

Another important aspect to consider was the time it was created. At the time the Algerian war was happening. Godard moulded “Breathless” into an expression of freedom from the constriction and regiment the war was placing on the French society. The techniques like handheld cameras which are key aspects of french new wave cinema were used metaphorically to show unpredictability and freedom of movement. It was through this that Godard was able to counteract the depression and dark tone the war had set of France. From the start of the film showing him fighting back, killing the policeman that was chasing him, getting involved in gangs. It all represents the individuality of France as a society. Godard wanted to give the people something to inspire them in this dark time.

Additionally “Breathless” played a huge part in French New Wave cinema as is responsible for inspiring countless directors, most notably Quentin Tarrantino. Godard inspired other movies to be reflexive. It made the audience realise they were watching a film. Breathless was reflexive in the sense that it borrowed aspects from other genres and movies and melded them together, and yet Godard did not hide it like most directors try to.  Godard was openly announcing the foundations of his work, acknowledging how his work was based of the work of his predecessors. This action of being reflexive in this sense became a safer risk to take and is seen in many other directors work.