I want to think about what this relation or connection might be and how we can read this sequence and film in relation to it, and also examine the particular ways in which Godard connects his film to that of Dreyer. (2)Įven on a very superficial level this sequence suggests a pointed connection between the film we are watching – Vivre sa vie – and the “framed” film being observed by Nana. This essay will explore the representational trope of characters watching films in the cinema – an area – which has been surprisingly under-discussed and under-theorised to this point – through a close reading of this moment from Vivre sa vie, as well as comparative examples drawn from other Godard films and from across cinema history. I will also examine the ways in which such moments intersect with and interrogate film history, the established or even shifting film canon, and can say pertinent things about the social and critical place and history of the cinema at particular points in time. I want to use this scene as a key reference point in a broader discussion of the ways in which fiction feature films represent the act of movie-going. (1) Approximately 14 minutes into the film, we see Nana seated in a cinema watching a particularly pointed – some might say transcendental – scene from Carl-Theodor Dreyer’s groundbreaking 1928 masterpiece, La passion de Jeanne d’Arc ( The Passion of Joan of Arc), starring Maria Falconetti. In 1962, Jean-Luc Godard completed his fourth feature film, Vivre sa vie: Film en douze tableaux, an essayistic, documentary-like account of the day-to-day life of a young prostitute, Nana, starring the director’s then wife, Anna Karina. – Paul (Jean-Pierre Léaud) in Jean-Luc Godard’s Masculin féminin: 15 faits précis (1966) This wasn’t the film we had imagined the perfect film each of us carried within the film we would like to have made or perhaps even to have lived.

But more often we’d be disappointed The images seemed old and flickery Marilyn Monroe had aged terribly.

At the movies the screen would light up and we’d shiver.

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