Editing Jean-Luc Godard (section)

=== Bertolt Brecht ===
Godard's engagement with German poet and playwright [[Bertolt Brecht]] stems primarily from his attempt to transpose Brecht's theory of [[epic theatre]] and its prospect of alienating the viewer (''[[Verfremdungseffekt]]'') through a radical separation of the elements of the medium (theatre in Brecht's case, but in Godard's, film). Brecht's influence is keenly felt through much of Godard's work, particularly before 1980, when Godard used cinematic expression for specific political ends.<ref name="TheFreeDictionary.com" /><ref>{{cite book |url=https://books.google.com/books?id=v7KAEAAAQBAJ&pg=PT49 |title=Joel and Ethan Coen |isbn=9780252054143 |access-date=15 September 2022 |last1=Barton Palmer |first1=R. |date=15 August 2022 |publisher=University of Illinois Press |archive-date=11 June 2023 |archive-url=https://web.archive.org/web/20230611040522/https://books.google.com/books?id=v7KAEAAAQBAJ&pg=PT49 |url-status=live }}</ref>

For example, ''[[Breathless (1960 film)|Breathless]]''{{'s}} elliptical editing, which denies the viewer a fluid narrative typical of mainstream cinema, forces the viewers to take on more critical roles, connecting the pieces themselves and coming away with more investment in the work's content.<ref>Brody, pp 53–80</ref> In many of his most political pieces, specifically ''[[Weekend (1967 film)|Week-end]]'', ''[[Pierrot le Fou]]'', and ''[[La Chinoise]]'', characters address the audience with thoughts, feelings, and instructions.<ref name="TheFreeDictionary.com" />