Cinematography - everything to do with the camera
MES - everything on the screen (‘put in scene’)
Sound - dialogue, music. We need to consider the diegesis
Editing - combining shots to create meaning. Also includes post production special effects
Performance - what the actors do. Naturalism and expressive performances. Proxemics… etc
EXPRESSIVE PERFORMANCE - Michel breaks the fourth wall, addressing the spectator with a boring monologue. This not only helps to engage the spectator in the NARRATIVE, it also defies film conventions (e.g. Classical Hollywood narrative) and breaks the rules
EXPRESSIVE CINEMATOGRAPHY. After being confronted by the police officer, there is a MONTAGE of ECUs in profile of Michel. This constructs not only Michel’s inner worry, but also the intensity of the sequence. This forms a binary opposition with Michel’s laid back PERFORMANCE, constructing a confusing mode of address for the spectator
There is an alarming use of JUMP CUTS throughout the sequence, where we cut from Michel to Michel. This constructs not only a confusing mode of address, it also breaks away from classical Hollywood narrative, and reminds the spectator that they are watching a film
The use of MONOLOGUE - nonsensical, jarring and even unpleasant. He objectifies women or ‘petite filles’, before deciding they are ‘dogs’ and not worth his time. He frequently sings, mutters, and makes banal statements like ‘I like the countryside’. This use of NATURALISTIC performance constructs a real and relatable persona for the audience to negotiate their own alignment to this hegemonically attractive but thoroughly unlikeable character
HANDHELD CINEMATOGRAPHY. Classical Hollywood films typically shoot car interiors in a sound stage, using external cameras and a blue screen. However, in Breathless, a sense of naturalism is achieved through shooting on handheld cameras in cars with available lighting.
There is little music, mainly DIEGETIC MUSIC from the car radio, again constructing a naturalistic mode of address. However, there are elements of non-diegetic sound in this sequence. Michel’s leitmotif, a jaunty brass theme is repeated throughout the film to the point of frustration, not only reminding the spectator of Michel’s arrogance, but also the fact we are watching a film. Furthermore, the INTERNAL DIEGETIC SOUND of the PLEONASTIC gunshot not only positions the spectator in Michel’s confusing train of thoughts, it also makes INTERTEXTUAL reference to the kind of violent Hollywood movies that Michel loves so much