Pornografia u Jeana-Luca Godarda

Abstract

In culture and cinema, pornography and eroticism are current issues which have never ceased to arouse profound emotions. This paper focuses particularly on pornography, nudity, and eroticism in Jean‑Luc Godard’s films with regard to the mainstream films, the latter ones absorbing pornography as cinema has changed whereas the cultural taboos have been broken down. For Godard, a director who is fond of identifying grave problems by means of shocking the audience, the aforementioned tropes are useful tools. Initially, Godard employs nudity in order to emphasise the commercialisation of the everyday life and the imperfection of the social relations based on production and exploitation. Since the 80s, he aims at reaching the mystery of the film image by means of almost pornographic frames. However, in Godard pornography loses its inherent pornographic effect: its frames are cold, boring, and repetitive; deprived of excitement, they connote nearly medical images. Considering the violence of the political states, totalitarian systems, and murders in general, what is, in fact, the rape on the screen or the rape of the screen? This is the question the director seems to pose.