La fragmentación en el discurso cinematográfico de ficción de Jean-Luc Godard

Abstract

Our main purpose is to demonstrate how the film director Jean-Luc Godard elaborates his fiction films as a fragmented discourse with the aim of revealing the relativity of both the cinematographic discourse and the language. We consider Godard as the filmmaker who has taken further the fragmentary discursive logic in fiction cinema. The analysis of Godard‟s filmography offers us the opportunity to identify and describe what is a fragmented cinematographic discourse, which is its historical and semiological origin and what are the different narrative fragmentation tools offered by fiction cinema as an artistic expression. From this perspective, our research is intended, on the one hand, to shed light on a so hermetic work such as Godard's cinema offering a new perspective on it and, on the other hand, to create a guide for a cinematographic practice inspired by the artistic avant-garde, the rupture of the discursive unity and the development of a personal and alternative inspiration capable to confront the institutional discourse in any of its forms and spheres. Previous research on Godard work connected terms such as collage and fragmentation with his films but they didn‟t provide a detailed guide of all the scopes and possibilities that fictional cinematographic discourse offers under a fragmented perspective. That is the reason why we consider that offering a detailed analysis on the resources used by Godard is a complex research task but indispensable at the same time. We consider cinema the most suitable means to articulate an alternative discourse capable of breaking the totalizing practice of unitary discourse. Fragmentation is located in the core of cinematic image through the succession of frames. The cinematographic discourse arises at the same time as a fragmented structure through the articulation between in and off, image and soundtrack and in the succession of sequences through editing...