Dobre kino może robić tylko niesforne dziecko, czyli dwie filozoficzne uwagi o wczesnych filmach Jean-Luca Godarda
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GOOD MOVIES CAN ONLY BE MADE BY AN UNRULY CHILD, OR TWO PHILOSOPHICAL COMMENTS ON GODARD’S EARLY FILMS
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This article focuses on the analysis of and commentary of the early Jean-Luc Godard’s films ― Á bout de souffl e [Breathless] (1960), Pierrot le fou (1965) and La Chinoise (1967) ― in modern philosophical contexts: from Schiller to Agamben. At the beginning of this essay, I present the basic theoretical (political and philosophical) assumptions of Godard’s cinematic oeuvre. In this aspect I am focusing on the criticism of the French culture of the fifties’ Zeitgeist, especially the conservative policy of general Charles de Gaulle. For Jean-Luc Godard post-war France and French were simply boring ― that is why he decided to make movies. His early films are primarily testimony of fun and games with the accepted conventions: the culture, customs and politics. Making a movie, the French director just wants to have fun. In the second ― theoretical ― part of the text, I reconstruct two original philosophical perspectives of interpretation associated with the work of Giorgio Agamben and Friedrich Schiller. First, I present the strategy of profanation, which I confront with the characters of Godard’s films. Then I analyze the concept of “game” from Friedrich Schiller’s Letters. Jean-Luc Godard is a complicated director: first he was the original child of his time, and later — unfortunately, only the slave of his own thoughts.
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