BETWEEN CINEMA AND PAINTING:
HYBRIDISM IN JEAN-LUC GODARD'S CINEMA
Cinema; Hybridism; Painting; Color; Jean-Luc Godard.
This work investigates how the symbolic form present in the aesthetic hibridism ofJean-Luc Godard's films, specifically O Demônio das Onze Horas (Pierrot Le Fou, 1965), Paixão (Passion, 1982) e Adeus à Linguagem (Adieu Au Langage, 2014), is related to the relationship between cinema and paiting. Two central questions are posed: how does Godarad’s symbolic pictorial form is constructed? Are these narrative pictorial elements constructed with the intention of building meanings and real sensations like the ones of the picturial impressionist movement? The relationship between cinema and painting in Godard’s films is looked at here with the intention of promoting a dialogue between arts and communication. From the standing point that films are artistic objects that comunicate through symbolic elements, this work Will identify the symbolic form in Godard’s work within the context of an hybrid language constructed by aesthetic elements such as color and light.