The Influence of Bertolt Brecht's Theory of Distanciation On The Contemporary

Cinema, Particularly on Jean-Luc Godard

Author(s): Jan Uhde
Source: Journal of the University Film Association , 1974, Vol. 26, No. 3 (1974), pp. 28-
30, 44
Published by: University of Illinois Press on behalf of the University Film & Video
Association

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The Influence of Bertolt Brecht's Theory of Distanciation On The
Contemporary Cinema, Particularly on Jean-Luc Godard
Jan Uhde

Jan Uhde is Professor of Film at the Univer

changes of heartbeat, vertigo or those positive aspects, one-sided. The pas
sity of Waterloo, Canada. His paper was pre sive trance-like state of the viewer with
sented at the 28th Annual UFA Conference at which were heavily publicized recently
the University of Windsor, August 22,1974. in connection with The Exorcist. his lack of objectivity and activity are
We can also see that it is mainly elements, which some filmmakers
emotions of the audience which are have been trying to remove or reduce
stimulated during the projection of a since the invention of the cinema.
film. The intellectual faculty and objec In the theatre of the 1920's and
tive judgement are more or less sup 1930's, the German playwright and
It is an acknowledged fact that one pressed. Accordingly, the audience in theoretician Bertolt Brecht led, by his
of the principal characteristics of the clines towards ? subjective interpreta Verfremdungstheorie, a massive at
film medium is its ability to create a tion of the dramatic conflicts and situa tack against the illusion on the stage.
powerful illusion of reality that results tions in the film, which is, in most On one occasion, he compared the
in a strong identification of the cinema cases, prejudiced in one way or situation of a spectator, who identifies
audience with the action on the screen. another. A member of the audience with the dramatic action, to the situa
The apparent affinity between the identifies himself with certain individu tion of a person directly involved in a
cinematographic image and the visual als, groups of individuals or situations traffic accident. According to Brecht, it
reality creates a strong psychic pres in the story. It is usually the main figure is impossible for the involved person to
sure on the viewer which causes him to or "hero" of the film with whom this achieve the same degree of objective
accept the film fiction as the real world. identification takes place. After a short judgement as it is for a casual bystan
This fact has been formulated by Sieg while, the viewer becomes part of the der who has only seen the accident.
fried Kracauer in the following words: story himself. This argument can be supported by
"Struck by the reality character of the This identification of the film spec examples from our daily lives.
[resultant] images, the spectator can tator with the action on the screen has Lawyers, counsels and mediators, for
not help reacting to them as he would achieved an unprecedented strength, instance, can often be more effective
to the material aspects of nature in the when compared to the effect of other than the involved parties themselves,
raw which these photographic images arts, particularly with theatre and litera simply because of their detachment
reproduce."1 ture. It actually helped to create the so from the situations they deal with. Simi
There are more reasons for which called "Star System" in which the film larly, a detached theatre or film audi
the audience tends to submit itself to actor who impersonates the hero (or ence can achieve a higher degree of
the cinematographic illusion, an impor anti-hero) has become the key figure objective judgement and activity than
tant one being the nature of film projec of the film industry, eclipsing the role of one which is under the paralyzing in
tion itself. The viewer watches the other artists, especially the director. It fluence of a deep emotional involve
screen in a state of almost complete has also been exploited by political ment.
isolation?he is cut off from the outside and economic propaganda, such as In the cinema, some more con
world by darkness and seating ar war films and commercials, on count spicuous attempts to reduce the illu
rangement. This causes a specific at less occasions. In some cases, films sion were initiated by the Avantgarde
mosphere which Hugo Mauerhofer, in are only produced after careful re movement between the wars and later
his book Psychology of Film Experi search into mass psychology, since a continued by the "Underground
ence, calls the "cinema situation."2 strong identification of the audience Cinema." There have also been other
This "cinema situation" increases the with a theme, style or actor can help to isolated attempts in which some tech
hypnotic power of the film image. The draw large crowds to the box office. niques of distanciation, or estrange
strength of the cinematographic illu The predominantly emotional in ment, have been used, such as in
sion in its entirety can easily be illus volvement of the film spectator, its Citizen Kane, Kuhle Wampe, Singin'in
trated by the fact that some images on acceptance of the cinematographic the Rain and M. The latter film, pro
the screen can produce a physical illusion and its identification with the duced in 1930, seems to contain some
reaction in the viewer, such as presented action, is, despite many distancing techniques influenced by
28

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Brecht. For instance, in the History of his connection with Brecht. He pointsdependent artist with original ideas;
Film by Ulrich Gregor and Enno to it, in his own way, on several there is no question of direct imitation.
Patalas we read the following: occasions?mostly in his films. So, for The following discussion of the es
"Brecht's influence reveals itself not instance, in a scene from La Chinoise, trangement techniques in Godard's
only in the thematic aspect of M, but the names of famous writers, play films must be considered only as a rep
also in the contrapuntal use of sound, wrights, philosophers etc., such as resentative sample. A thorough in
which effectively distanciates the Voltaire, Dumas, Goethe, Labiche,vestigation of this question is ruled out
narrative."3 [Transi. J. V.] The intensity Racine and Kleist are shown on by a the limited scope of this contribu
and frequency of these early attempts, blackboard. One of the main figures oftion.
however, was very low. Only at the end the film, Guillaume (played by Jean One of the powerful devices of dis
of the 1950's and in the 1960's, did the Pierre L?aud) wipes out one nametanciation used by Godard is the
situation in film, in respect to distancia weakening of the continuous dramatic
after another. At the end, only Brecht's
tion, begin to change. (This coincided name remains. In The Contempt,structure with its usual development:
with some profound esthetic develop director Fritz Lang, played by Langexposition, climax, catharsis. The or
ments of the medium at that time, himself, recites the well known "Hol ganization of a dramatic work upon
which were initiated by the "nouvelle lywood" poem by Brecht, written dursuch a direct narrative structure tends
vague" in France and followed by di ing the playwright's exile in the United to produce mainly emotional involve
rectors in many other countries.) States during World War II. Brecht isment and identification tendencies in
Although many filmmakers in sev also mentioned in Godard's 39the audience. Godard, in contrast,
eral countries have been using techni point-Manifesto, called "What to do?,"uses a loose, episodic structure in
ques of estrangement, such as Berg written in 1970. which there is very little dramatic con
man and Sj?man in Sweden, Straub Godard, like Brecht, is a critical tinuity. The episodes are independent
and Herzog in Germany, Chytilov? in moralist and, to a certain degree, ato a certain extent, and are organized
Czechoslovakia, Makavejev in Yugos political activist. In his films he often in parallels. This can be found in many
lavia, Fellini, Antonioni and Passolini in attacks the capitalist society and osof his films, such as The Carabiniers,
Italy, I would like to concentrate on tentatiously declares his political inPierrot le Fou, Masculine-Feminine,
Jean-Luc Godard, for the following volvement. His d?but, Breathless, inWeekend and One Plus One. It is not
reasons: 1959 dealt with an anarchistic revolt of
without importance that the tendency
1. Godard has been the first director an isolated individual. Since then, hetowards a less tight dramatic structure
with an international reputation to developed towards a marxist stand increased with every new Godard film,
use the distanciation techniques point which culminated in the attitudeculminating at the end of the 1960's in
deliberately and consistently of his films in the later sixties. It is not a virtually total dissolution of the
throughout most of his work. difficult to find a comparable develop "story." This loose dramatic construc
2. Godard has been directly influment by Brecht. Brecht, too, portrayedtion has, without doubt, some distanc
enced by Brecht's Verfremdung an anarchistic figure in his first drama, ing influence on the spectator, who
stechnik, which he seems to havecalled Baal, in 1918, and he too be cannot easily identify with the action on
modified for the cinema. came more politically involved later on the screen.
3. Godard's influence on other film in his career, assuming the marxist The already weak continuity of
makers in many countries has been viewpoint during the 1930 s. dramatic action is eroded further by
extensive, particularly in respect to The comparison of the respectivevarious techniques of interruption. In
the estrangement effect. styles of Godard and Brecht also reLes Carabiniers, for instance, the
Unfortunately, we can consider only anveals some interesting similarities. narrative is continually interrupted by
outline of this topic, owing to its vol Brecht approached the traditional inserts, showing hand-written text.
ume, and to the given time limits. drama in a nonconformist way. He disThese inserts not only suspend the ac
There are many elements incarded many of its principles and estion for a while, but also provide autor
Godard's film work, which indicate that tablished new ones; among other in ial commentary. They turn the atten
he and his style have been influenced novations, he integrated the purely tion of the audience towards general
by Brecht. In several publications and theatrical means of expression withproblems of war. One title reads: "We
articles on Godard, this has been as elements from other media. He usedhave landed in Italy and have staked
sumed to be a fact, but there has been slides, drawings, newspapers andout our way with thousands of corp
very little or no discussion of this queseven films. On one occasion he wrote: ses." And another one: "What are the
tion. For instance, some short remarks"Film makes drama its bed."4 [Transi. soldiers doing before the battle? Be
which deal with the connection be J. V.] Godard's film style is alsofore the battle, the soldiers are
tween Godard and Brecht can becharacterized by employing elements scared." In Pierrot le Fou various in
found in Alan Casty's publication The from areas outside of the film medium, serts interrupt the dramatic develop
Dramatic Art of the Film, in Jean such as painting, literature, theatre etc. ment in a symbolic way. So the two big
Collet's book on Godard and in the The presence of these elements in letters "SS" shown in close-up change
recent publication Focus on Film and Godard's films is so apparent that into the name of a gasoline station
Theatre, edited by James Hurt. Jacmany refer to his style as that of a "ESSO,'' after the camera moves
ques Bontemps, in his article on 'mosaic" or "collage." back. In Masculine-Feminine, Godard
Godard's film La Chinoise, considers The most important connection beuses inserted titles, songs and other
Brecht as Godard's spiritual father, tween Godard and Brecht is the use of kinds of interruption. The film,
apparently reflecting the remark fromdistancing techniques and devices. ItWeekend, is frequently interrupted by
the film Two or Three Things I Knowshould be noted, however, that titles as well.
About Her referring to "p?re Brecht." Godard's dependence on Brecht is A special kind of interruption is a
Godard himself makes no secret of one of a creative, imaginative and in technique, which I call "reminders of

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the medium.'' In order to dissociate the Some of them can be characterized as technique of the author who appears to
audience from the story, the filmmaker a kind of interruption, others are more go in the opposite direction from most
demonstratively points out the ficti or less integrated with the narrative it of the filmmakers in any period within
tious nature of the projected events, self. In most cases they provide a con the history of the cinema. He orien
which tells the viewer, directly or indi nection with elements from outside the tates the visual movement along the
rectly, that he is watching a film. film, usually by means of association. left-right axis, causing the actors to
Godard uses these "reminders of the Their form and characteristics are di enter and leave from the left and right
medium" quite often in his films. At the verse: they are drawings, paintings, on a relatively flat stage, just as a
beginning of La Chinoise for instance, literary quotations, titles, names, short theatre director would do.
a title is shown, announcing to the clips of film etc. At the first glance they In other films, there is a tendency
viewer: "Un film en train de se faire." In often seem to be irrelevant elements towards a reduction of naturalistic de
other scenes, a clapper board is picked up ad hoc by the author in order tail of the photographic image. So, for
shown conspicuously, reminding the to disrupt the continuity of the story. instance, in Les Carabiniers, the entire
spectator again that he is sitting in the After a while, however, a meaningful background in most scenes is unin
cinema. In the film One Plus One, connection with the subject matter of teresting, grey, sometimes even ugly.
something, which looks like a dramatic the film can be established. The audi There is practically no sunny land
chase, is distanciated by revealing the ence, which is confronted with these scape and almost all scenes are shot
"backstage" of shooting on location: short images, flashes and sounds, is in winter or early spring so that the
the camera crane is shown, the girl interrupted in its process of identifica trees are leafless. In Made in USA
falls and a make-up person on the tion, and is compelled to an intellectual people are often photographed
crew pours red paint over her etc. We involvement by having to decipher the against unpleasant backgrounds,
are left in no doubt that we have been little puzzles. such as scattered metal etc. When Les
watching a film. In Weekend, the two There are numerous examples of Carabiniers had been made, the film
main figures of the film meet a group of this technique of "quotation" in material itself was specially selected
people who reply, after being asked Godard's work. To mention only a few and treated (high contrast, duping) so
who they are: "We are the Italian ac of them: the self-portrait of Rembrandt that there was a high contrast of
tors of the coproduction." Similarly in in Les Carabiniers accompanied by image, and consequently a reduction
Pierrot le Fou, some persons in the film Michelangelo's remark "The soldier in the richness of shade value. In some
stop their "acting," turn towards the greets the artist!"; the comic-strips cases, Godard uses a damaged image
camera?that is to the viewer?and book carried by Belmondo in Pierrot le (scratched emulsion) such as in Wind
identify themselves as extras em Fou; the magazine advertisements in from the East.
ployed in the film. There are similar Les Carabiniers, which are integrated This tendency towards austerity and
techniques used in many of Godard's visually with the cinematographic reduction is apparent not only in the
films, such as in Made in USA, Two or image; the magazine Elle in Two or composition of the image and the
Three Things . . . and Wind from the Three Things ... ; the negative im technical quality of it, but also in cam
East. In Two or Three things ages in Alphaville which point to the era movements. Two characteristic
Godard clearly points out that the film German Expressionist Film; the quota examples, both from Weekend, are the
actor and the character represented by tion by Louis Lumi?re "The Cinema is ten-minute travelling shot in the traffic
him are two different persons. In the an invention without future" placed in jam scene, and the 900-degree slow
opening scene of this film, the director the cinema theatre in The Contempt; panorama in the almost motionless
himself provides the following com the apparent visual similarity between scene called in the script "Musical Ac
mentary accompanying the shot of the composition of a painting by tion." The dialogue and sound are
Marina Vlady: "This is Marina Vlady. Picasso and a film image in Pierrot le often subjected to a similar reduction
She is an actress." A further descrip Fou which contains the same Picasso of definition. The taped voice of
tion of her follows. He then says, with painting; appearance of famous dead Richard Po ... in Made in USA is ".. .
the camera shooting the same person: or fictitious persons, such as Saint unbearably loud, grating and harsh."5
"This is Juliette Janson. She lives Just, Joseph Balsamo and Tom Sometimes outside noises lessen the
here." A further description of the film Thumb being confronted with the communicative value of a dialogue.
figure which follows, is, in most re characters in the films, etc. All these These techniques and devices gener
spects, similar to the first description. elements produce distanciation. ally reduce the capacity of the film
All the named examples?the It has often been noted that many of medium to reproduce nature realisti
loosening of continuity in the dramatic Godard's films contain a certain de cally; thus they lower the degree of
structure, the interruptions and remin gree of austerity. The tendency to illusion in the audience. From this point
ders of the medium, have also been wards simplification of the image and of view, they represent an antithesis to
used by Brecht in his theatre as means distortion of sound is indeed present in the "film spectacle." Some of the tech
of estrangement: the last example?Godard's work. It becomes more ap niques of reduction can be traced back
the dissociation of the actor from his parent in the late half of the 1960's. A to the distanciation of Brecht. The
role?has been one of the corner typical example of this "reduction German playwright rejected the 19th
stones of Brecht's theory of Century idea of an imitating stage,
technique" is provided by La Chinoise,
Verfremdung, discussed at some in which the colour scale has been re filled by realistic props and costumes.
length in his theoretical writings, such duced to several basic colours, pre Instead, he used simplification and
as the well-known Little Organon for dominantly to red, white and blue. Also symbolic representation.
the Theatre. the visual composition of the images in
Another technique with a strong the film are of such a nature that it
anti-identification effect which Godard creates a two-dimensional atmos
uses is the so called "Quotations." phere. This seems to be a deliberate (Continued on page 44)
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 21. "The Attorney General's Broadside," The
Advocate, 22 Jan. 1916.
repetitive dialogue, performance RECENT BOOKS
22. The Crisis, 11 (February 1916), 198. Ac within performance etc., such as we
counts vary. Arthur F. Raper reports that 54 Ne find in Pierrot Le Fou, La Chinoise and
groes were victims of lynch mobs in 1915, The other films.
Tragedy of Lynching (Chapel Hill: University of
North Carolina Press, 1933), p. 481. The dramatic impact of scenes em Appel, Alfred Jr. NABOKOV'S DARK
23. "Decision of Mr. Chas. G. Williams," CINEMA. Oxford University Press,
Cleveland Gazette, 2 Oct. 1915. ploying suspense and violence or
24. Cleveland Gazette, 17 Mar. 1917. otherwise demanding emotional reac New York, 1974, 324 pp., $14.95
25. The Crisis, 10 (October 1915), 295.
26. "Decision of Mr. Chas. G. Williams," tion, is reduced by various means. So,
Edmonds, Robert. ABOUT
Cleveland Gazette, 2 Oct. 1915. for instance, the "blood" on the screen DOCUMENTARY: ANTHROPOL
27. Cleveland Gazette, 17 Mar. 1917. does not look "real" enough, the OGY ON FILM: A Philosophy of
28. Ibid., 17 Feb. 1917. bodies are dealt with in a detached
29. "Race in Ohio is Solid for Republican
People and Art. Pflaum, Dayton,
Ticket," The Advocate, 21 Oct. 1916. way, dramatic moments are deleted or Ohio, 1974, 115 pp.
30. "Political Jottings," The Advocate, 28 Oct.
1916. substituted for a symbolic action, vio Haskell, Molly. FROM REVERENCE
31. "Decision of Mr. Chas. G. Williams," lence is unrealistically overstated etc. TO RAPE: The Treatment of
Cleveland Gazette, 2 Oct. 1915. These techniques reduce the dramatic Women in the Movies. Penguin
32. Cleveland Gazette, 17 July 1915.
33. "The Advocate Gets Busy,' The Advocate, impact of some events upon the audi Books, Inc., Baltimore, 1974, 388
27 Nov. 1915. ence, and contribute to the distancia pp., $3.95 paper.
34. "The Infamous Film," Cleveland Gazette,
17 Feb. 1917, and The Ohio State Monitor, 19
tion effect. The connection with Horv?th, Joan. FILMMAKING FOR
Oct. 1918. Brecht's attitude can also be detected BEGINNERS. Thomas Nelson, Inc.,
35. "The Infamous Film," Cleveland Gazette, New York, 1974, 162 pp., $5.95.
17 Feb. 1917. here (Mutter Courage).
36. "Commission Is Appealed to by Colored The reaction of the audience to dis Kanin, Garson. HOLLYWOOD: Stars
People," Dayton Journal, 8 Mar. 1917; "Colored
tanciated films?not only those of and Starlets, Tycoons and Flesh
People Make Protest Against Film," Dayton Jour
nal, 20 Feb. 1917. Godard, but of other directors as Peddlers, Moviemakers and
37. Ivan Brychta, "The Ohio Film Censorship well?is similar in a way to the attitude Moneymakers, Frauds and
Law," Ohio State Law Journal, 13 (1952),
350-411. of the theatrical audience before World Geniuses, Hopefuls and Has
38. "Negroes Vent Ire at Race Picture in War II. Not everyone is willing to ac Beens, Great Lovers and Sex Sym
Demonstration," Cleveland Plain Dealer, 10 April bols. Viking Press, Inc., New York,
1917. cept the destruction of the cinemato
39. "Posing As Our Friend," Cincinnati Union, graphic illusion and the interruption of 1974, 393 pp., $8.95.
19 Oct. 1918. his "silver dream." The theatre audi Mast, Gerald and Marshall Cohen.
40. "The Birth of a Nation' Is Once More FILM THEORY AND CRITICISM:
Under Ban," Beacon Journal, 15 Oct. 1918. ence has already become more accus
41. " The Birth of a Nation' Not to Be Shown," tomed to the estrangement, chiefly be Introductory Readings. Oxford Uni
19 Oct. 1918.
42. "Out in the State," The Ohio State Monitor, cause of a nominally lower intensity of versity Press, New York, 1974., 639
2 Nov. 1918. illusion in the theatre in general, be pp., Paper.
43. The above two quotations come from the
cause of its longer exposure to distan Metz, Christian. FILM LANGUAGE: A
Fremont (Ohio) Messenger 1 Jan. 1916 and Ed
ward A. Morse, testimony, in Federal Motion Pic ciation, the tradition of distanciation, Semiotics of the Cinema. (Trans
ture Commission, Hearings before the Committee and finally because theatre attracts lated by Michael Taylor) Oxford Uni
on Education, House of Representatives, 64th
Cong., 1st Sess. 1916. selective audiences. Film however, is versity Press, New York, 1974, 268
44. "The Birth of a Nation' Scores Big Hit on much more of a mass medium than the pp., $10.95.
First Night Here," 21 Aug. 1917.
45. "The Birth of a Nation," 17 Mar. 1917. stage. Nevertheless, the estrange Miilerson, Gerald. BASIC TV STAG
46. In Griffith and Mayer, The Movies, p. 38. ment in the cinema has been making a ING. Hastings House Publishers,
47. Toledo Blade, 25 Sept. 1917; "The Birth
visible progress during the last two de Inc., New York, 1974, 173 pp.,
of a Nation' Thrills on Its First Screening in To
ledo," Toledo News-Bee, 25 Sept. 1917. cades. There are more and more signs $10.95 cloth, $5.95 paper.
48. Toledo Blade, 25 Sept. 1917. to suggest that the techniques of dis Murray, Edward. NINE AMERICAN
49. "The Birth of a Nation' Scores Big Hit on
First Night Here," Beacon Journal, 21 Aug. 1917. tanciation are being experimented with FILM CRITICS: A Study of Theory
50. "The Birth of a Nation," 17 Mar. 1917. on a broad scale?even in the so and Practice. Frederick Ungar
51. "Birth of a Nation," The Crisis, 10 (Oct. Company, New York, 1975, 248 pp.,
1915), 296. called "popular" films; the intellectual
52. "The Clansman," The Crisis, 10 (May and avantg?rd? cinema have already $9.50.
1915), 33. Parish, James Robert and Michael
accepted the existence of the "distan
53. Louisville News editorial quoted in The Ad
vocate, 7 Aug. 1915. ciated film" as a fait accompli. R. Pitts. THE GREAT SPY PIC
54. 3 July 1915. TURES. Scarecrow Press, Inc.,
55. "The Infamous Film," Cleveland Gazette,
3 Mar. 1917. Metuchen, New Jersey, 1974, 585
56. Cleveland Gazette, 10 Mar. 1917. pp., $17.50.
57. Ibid., Mar. and April 1917, passim.
Schumach, Murray. THE FACE ON
THE CUTTING ROOM FLOOR: The
Story of Movie and Television Cen
References sorship. Da Capo Press, Inc., New
York, 1975, 305 pp., $3.95 paper.
1. Siegfried Kracauer, Nature of Film: The Re
demption of Physical Reality (London: Dobbson, Vogel, Amos. FILM AS A SUBVER
Uhde 1961), S. 158. SIVE ART. Random House, New
2. Hugo Mauerhofer, "Psychology of Film Ex York, 1974, 336 pp., $15.00.
(Continued from page 30) perience," Penguin Film Review, No. 8, (London,
1949). Wharton, John F. LIFE AMONG THE
3. Ulrich Gregor and Enno Patalas, PLAYWRIGHTS: Being Mostly the
Geschichte des Films (G?tersloh: Mohn, 1962),
Other distancing devices used by S. 146. Story of the Playwrights Producing
Godard, some of which are also found 4. Bertolt Brecht, Gesammelte Werke Company. Quadrangle/The New
(Frankfurt am Main: Suhrkamp, 1967), XV, 134.
in Brecht, include scenes containing 5. Jean-Luc Godard, Made in USA (London: York Times Book Company, New
elements of dance, song, poetic and Lorrimer, 1967), S. 49. York, 1974, 336 pp., $15.00.

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