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Statistical Style Analysis of Jean-Luc Godard’s Films in Karina Period

In the 1960s, the society of France was totally changed in lifestyle and mentality. At the same time, French New Wave shook up the cinema world while Hollywood was collapsing. Jean-Luc Godard was standing at the center of this ≪French culture revolution≫. “How does the director express his intention through the camera?” Our hypothesis links the director’s intention and his filmic style. To prove this one, we analyze the use of the camera, especially Jean-Luc Godard’s three films in Karina period (1960-1967) : Contempt (1963), Masculine Feminine and Made In U.S.A (1966). The camera is the invisible which creates the visible. It is not only the representative of the director’s gaze but also a voyeur, similar to the audience in some way. We can study this invisible camera because we know how the director had used it through the images shown in the film. For analysis, we choose three items-movement, distance and angle-those can be found clearly in the film to reveal the camera. We analyse them statistically for clear interpretation. This study proceeds in three steps. The first step is the short introduction of existing research on the film style. The second step is the statistical analysis on the use of the camera in every shot of three films. Finally, we prove the existence of the Godard’s style in Karina period. We also want to reveal the Godard’s intention in his making of the film.