| Jean-Luc Godard,as the most influential and unique eccentric in the French New Wave Movement,has created an eternal rebel image for himself.This rebellion is reflected in the rejection of traditional films,the questioning of the value of modern society and the unremitting exploration of film language,and even in the continuous innovation of his own films.Godard’s works were born in the wave of phenomenological existentialism after World War II.He has a deep connection with philosophers and film theorists such as Sartre,Bazin,Merleau-Ponty and Deleuze.He even advertised himself as an ‘existential Marxist’.If we put Godard’s films into the whole history of ideological evolution in France or the whole West,it will clearly see that Godard’s film from the existentialist period concretization characterizes phenomenological existentialism as the key node of the evolution from Early Modern Western Philosophy to Late Modern Western Philosophy,while his modern political films also represent the body phenomenology as the key node of evolution from Late Modern Western Philosophy to Postmodern Philosophy.In this changed paradigm,the edifice of subjective metaphysics began to collapse,and the‘language’,‘body’ and‘others’ suppressed by the philosophy of consciousness gradually liberated.This paper mainly analyzes the creative thinking of Godard’s films and its innovation of film language from the theoretical discourse of film theory,philosophy,literary theory and aesthetics.Therefore,this paper is divided into three parts:The first part is to differentiate and analyze the image from the ontological level from the perspective of phenomenological existentialism.Through the philosophical analysis of the essence of the image,it depicts the essential differences between modern image and classical image in image understanding.First of all,through tracing the origin of the word “imagination”,this paper expounds the division of imagination understanding in the development of Western thought,so as to explain that classical image exist as an imaginary object.Secondly,this paper shows the negative and nihilistic function of image to the imaginative consciousness,and then reveals that modern image is the consciousness of something,so as to establish a vision path enter Godard’s film.Finally,by clarifying the aesthetic judgment of the image,it reveals the modern film theory with intervention as the core,and thus describes the specific way of the image towards the reification.The second part is to analyze the background and the artistic soil of Godard’s existential works by putting the change of the three themes of French philosophy(language,body and others)into the contradiction of modernity.First of all,through understanding the change from transparent ideal language to semitransparent life language,this paper clarifies the deep contradiction of modernism,and then it found that the deep connection between the Essay Film and intervening literature,thus revealing the way of disintegration of the universal rational subject by the non-central image constructed by “meaningless dialogue body”,“jump-cutting collage” and“wandering lens”.Secondly,it illustrates the process of body image appearance and the importance of the body appearance to the situation through the disintegration of the subject,so as to reveal the evolution process of the mechanical body to the etherealized body of physical and mentalunity.However,due to the existence of the subject of consciousness in the body at this time,Godard’s image expression of the body is still unable to get rid of the shackles of the author’s subjective will.At this time,he is still in the dilemma and hesitation of modernity.Finally,by analyzing the problem of the other accompanied by the appearance of the body,peeping and conflict became one of the themes of Godard’s image expression.With the transition from denying otherness to relative otherness,the identity of the audience has also changed from an absolute object completely suppressed by the author’s subject to the relative object participating in the meaning construction of the film to a certain extent,and the audience has the planning power of the subject.In this sense,Godard’s film really opened a new transformation paradigm of film.The third part is to analyze Godard’s modern political films from the perspective of the totalisation view of history and of the complete disintegration of subjective metaphysics.Firstly,by understanding a change from semitransparent life language to nontransparent self-efficient language as far as language concerned,this paper sort out how body language constitutes the ideological context and theoretical basis of modern political film language in the totalisation of history.Secondly,it connects the logical inheritance relationship between body phenomenology and Situations Optiques Et Sonores pures,and depicts the evolution process from etherealized body to materialized body,and thus reveals the presentation path of modern political film to the situation of totalisation of body and the expression of political film when the author retired.Finally,with the absolute attention of the ideological and cultural circles to the others,the inter-body nature naturally transits to the inter-cultural nature,and the four characteristics of modern political films are also formed accordingly.In the study of Godard’s films from the perspective of phenomenology,it can be seen that his works are an important artistic representation of phenomenology in the paradigm of the evolution of French philosophy.He not only provides a new way for film types to depict survival state of marginal characters and restoring personalized life experience for film types,but also makes the film language constantly materialized through the self-expansion of reification.At the same time,through Godard’s films,this paper found that the phenomenology of the body leads to the complete reification of the body in the process of eliminating the residual subject of consciousness,and the language paradigm and art form have undergone enormous changes,and the art of Postmodern has been born immediately. |
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