Existing promo videos analysis

-Identify the brand first

Target Audience​
Mode of Address (Tone/ Narration/ Lexis/ Delivery)​
Technical Conventions (Image/ Music/ Editing/ Colour)​
Conveyance of Brand/ Identity​
Narrative ​
codes and conventions


1. Walt Disney World promo


With a brand value of US$32.6 billion, entertainment giant Disney remains the most valuable media brand this year, despite a 5% brand value decrease since 2017. As a well-loved entertainment brand, Disney has a unique ability to use nostalgia to harness childhood memories amongst its customer base. (1) The company attracts people of all ages, reaching a broad audience through various media and entertainment outlets. Disney's power lies in its brand. Even in a short promo video of Disney World, they rely on visual storytelling to sell off the emotional component of the brand which is what appeals to all ages. In the promo we also see there is no speech as everything is portrayed through the use of visual storytelling. Disney also knows their audience- they know their audience relies on nostalgia, to keep coming back for more, they want a reminder of childhood not a new Disney but the Disney that the grew up loving as a child. Using symbolic codes, we can see that from the start as the most iconic character representing the brand identity without  the need of speech (Micky Mouse) looks in the mirror, and then followed by a montage of the park initially getting ready for the day. The music is uplifting and almost dramatic through the use of technical codes used to portray different recognisable characters, getting ready. All the colours are bright and the lighting is high key natural throughout. We know all this by the 37second as again we see Mickey Mouse looking at his Disney watch on his glove, through the use of editing and fast cuts as the park opening is about to happen, to the fireworks and different families portrayed after the 0.40 second, relying on its family values and well established brand identity, as the clips go through fast pace (rollercoaster video), to slower pace (Belle hugging two little girls), to interact even better with each important moment.

2. GoPro HERO5 Launch promo


Even before watching the promo we know the GoPro is a brand for the explorers, for people who need to capture the moment of living on the edge, capturing the same moments in fast pace, while usually practising extreme sports that no other camera can while also being portable and smaller than half the size of a regular phone.  It manufactures action cameras and develops its own mobile apps and video-editing software. Founded as Woodman Labs, Inc, the company eventually focused on the connected sports genre, developing its line of action cameras and, later, video editing software. (2)
To appeal to its target audience the company would need to use the same elements in its advert- from the opening of the video with the sunrise, we see a broad range of locations and activities performed, from mountain climbing to kayaking and concerts. We also see the same camper van throughout which most travellers/explorers would identify with as a prefered method of travel for them and the very clever editing of it moving through different location while the camera stays on the same position, cutting to the beat of the soundtrack (at 1.27 min), to represent again the capability and range of the cameras/drones.




3. Always advert


The Always advert almost doesn't feel like an advert, as throughout its not focusing on a product as such but rather the idea/campaign behind it. Always as a brand is known for its activist campaign in aid, empowering and self-confidence, as stated on their website 'Always empowers women to live life without limits through trusted feminine hygiene products and education.', so knowing this, thats what we're likely to see in the advert- gender stereotypes have a big impact on girls during puberty, as this is the time when they learn what it means to be a girl, and young womanhood comes to be defined by a set of rules, like beauty and submissiveness.(3) In a studio setting, high key lighting, they ask young women and men, boys and girls, what does it mean to do something 'like a girl' and their answers show the different views of the older girls and man compared to the young girls and how much society affects their views when growing up on what being a girl means. The mode of address is informal and direct, as the participants are looking directly at the camera as almost speaking to the audience/ viewer on the other side of the screen, the editing being very minimal, to focus the attention on the participants and their answers, while the music is motivating and in the background 'quietly' tying the video all together. The advert is actually breaking the assigned codes and convention of what 'being like a girl' has become to society, also translating as 'being weaker'. The advert however was a huge success, targeting females all over the world of all ages and backgrounds- #LikeAGirl was watched more than 90m times and was the number two viral video globally. It also drove unprecedented earned-media coverage. There was also a rise in purchases as a result of the campaign. Many celebrities like Gloria Steinem and George Takei, joined Always in its mission to change the meaning of the expression ‘like a girl’, turning it into a symbol of female empowerment all over the world.
The "Like a Girl" campaign from Leo Burnett won the 2015 Emmy Award for outstanding commercial.(4)



(1) https://brandfinance.com/news/press-releases/disney-sparkles-as-most-valuable-media-brand-of-the-year/#:~:text=With%20a%20brand%20value%20of,brand%20value%20decrease%20since%202017.&text=As%20a%20well%2Dloved%20entertainment,memories%20amongst%20its%20customer%20base.
(2) https://en.wikipedia.org/wiki/GoPro#:~:text=GoPro%2C%20Inc.%20(marketed%20as,apps%20and%20video%2Dediting%20software.
(3)https://www.campaignlive.co.uk/article/case-study-always-likeagirl/1366870

(4)https://en.wikipedia.org/wiki/Always_(brand)

Bins and storing footage

Throughout the year i made sure to store all my files on my portable SSD, in separate folders organised by units so they’re easier to find and access.

That’s an example of how I would organises each unit, with separate folders for different footage for example found footage for an advert and camera footage which would be easier to import to Premier pro as a folder with footage ready to edit. I would also keep any editing prompts/ music in a separate folder ready to use as well as also having the final product for each unit- either a short film or an essay.

Evaluation of editing skills

At the start of the year I was only familiar with the Premier pro and Photoshop editing softwares, and still I was only able to use their basic settings, as being able to simply put together a sequence  in premier pro from a crated 'bin' and then cut it to appropriate  times and lengths. However as the year progressed the tasks became more complicated  and would involve me getting more creative with my ideas and editing techniques and using different softwares. The first challenge I faced was when we had to, as a group, film a series of short clips (a couple seconds each) and then assemble  a stop motion short film. We had to not only film more than 50 separate short sequences, but then after I also had to edit each sequence to match the beat of the music (wii theme ringtone).

Another example was when we were given the task to create a New Wave film. I had to not only become familiar with the era of filmmaking but also all the techniques used at the time. I had to make sure my final product had the same aesthetic as the films I had researched, and to do so I had to research editing techniques which i haven’t previously used. An example is learning how to use split screen as well as layering clips on top of each other creating a new interesting effect, whilst again using the beat of the song to cut.

I also had to work predominantly with the Premier Pro and Photoshop editing softwares, however as the year progressed, I learned to get out of my comfort zone of what I already knew and discovered different settings such as the colour wheels and being able to edit the cinematic feel of every one of my short films, and got a better insight into both. For my project on film studies, creating a short film while also applying the relevant theory, in Premier Pro I had to learn how to film and then edit a green screen sequence. As this was something I’ve never attempted before I did my research before hand, watching different videos and reading blogposts on different ways of editing on a green screen. After I had the needed information I attempted a couple different methods of editing such as using the chrome key and using the ultra key, of which i preferred  using the chroma key as I found the settings after easier to adjust and edit to my liking.

In both Premier pro and Photoshop, something I had to learn how to do for my music video project was cloning. My idea was  to clone myself to essentially create a 'band', playing on air instruments. At the start it took a few trials and errors, and I also had to adjust my filming plan and ideas to fit the cloning as I found, for example, that the same subject can’t be too close to its clone/each other on screen as it blurs the lines and creates glitching where they touch,  therefore when filming the person has to have as much space as possible between the 'other person' that I would position on the screen when editing.
In the same project I also had to learn to use adobe After effects for the first time to create different animations in my music video. After learning the basics of how to create different animations I realised how time consuming is for editors to create whole short films fully based on animations, as if i wanted the animations to work and be interactive i had to draw on each frame per second rather than seconds, so to create even a second worth of footage it took a longer time than expected.

In the future I would like to improve my skills by working with different softwares in the Adobe cloud to further improve my skillset. I would also like to work on my editing of still photography.

Overall I can confidently say, and justify that I have improved my editing skills in the past year and feel a lot more confident in the use of different softwares as well as in working with more advanced editing techniques.

Music videos research+analyse

Elle Eyre- New Me
In this upbeat pop/R&B mixup song by Elle Eyre the narrative is used to show Ella moving on from last toxic relationship, further illustrated in the video by sitting in her room, eating junk food, crying(mascara smudges under eyes) all post break up actions.  The video starts off with a dolly shot out of a fridge, The camera movement then is used to amplify the lyrics after she sings "Take a step back and 180", the screen spins on 180 angle (scene change as musical phases change).
The narrative is clearly established too from the start, the lyrics reflecting the changes happening in Ellas life. The mid shots followed  by close ups bring the emphasis on her and help the audience to form an emotional connection. The mise-en-scene in the start where Ella opens the fridge indicates loneliness with the use of exaggerated  blue lighting and taking out a chocolate bar. The diegesis(2) can be seen as throughout  the camera follows Ella as the main camera, we can clearly see the change in the atmosphere and the mise-en-scene as it changes from the 'lying down, eating food, with mascara smudged under her eyes' to a natural lighting, upbeat and getting ready to go out with her friend, 'moving' on stage.




The Chainsmokers- Hope

The song begins with Winona Oak, reminiscing her past relationship, recounting the pain she had endured, being mistreated as the whole relationship was build on 'a bed full of lies'. She also says “hard and heavy whiskey goodbyes", which indicates a reoccurring theme of alcohol abuse throughout the song.

Throughout the video the camera is static, however the video still succeeds  in being entertaining, using fast changing colour lights, as well as extreme close ups of Winona Oak. The mise-en-scene was also different when Andrew "Drew" Taggart is the only one in the scene, with dull colours and using lights to create moving shadows around him in contrast with Winona who is always in bright colours, which could indicate his alcohol abuse throughout the relationship, being in the a dark place, while Winona now out of this relationship is surrounded  by beautiful colours.

BORNS- Electric love
In this song the simple idea behind it is BORNS, comparing a loved interest to heroin and the similar rush you get from both, and it could be seen as interpretive, receiving comments such as 'Made by someone on acid'.  What made me belive the sing indicates heroin/opiate addiction is not only the heavy impressioonist, concept based music video but also the lyrics used "I can't let you go now that I've got you" probably refers to addiction, and then "I'm dying for another taste" is the biggest give away in this direction. However at the start the same lyrics could be seen in the opposite light as falling in love with someone has often been compared to being addicted to drugs. Sleepless nights, strong desires, exhilarating and miserable at the same time, therefore making it up to the viewer to decide. The camera is contantly moving, with fast edits and jump-cuts in time with the beat, featuring close ups of the artist, as Carol Vernallis states in her music video theory(1) however in a very low key lighting

(1) https://infograph.venngage.com/p/198183/carol-vernallis-music-video-theorist

(2)https://replayitoreraseit.files.wordpress.com/2016/06/unruly-media-vernallis-c.pdf

Evaluation of music video

One thing I had a lot of fun making was the start of my music video, using adobe after effects to create short animations and sketches, which worked well and I'm happy how they turned out. However they took a lot longer then expected, as each sketch had to be done on a separate frame, which ended up in having to draw more than 30 different sketches just to complete 1 animation. Next time when working on a similar project, I would save time by planning better what i want to sketch beforehand, and instead of drawing a different sketch for each frame I would take intervals of 5-10 frames per sketch , as once the video is played they still look animated and actually are easier for people to see as they stay on the screen for longer. I did that in the 8:09 second into the video and made my editing a lot quicker.

Another thing I would improve is, if I'm editing a similar project, I would give myself more time to edit, as I would of liked to continue the patern of sketches throughout the music video, as it would of linked better and made more sense when watching.

When editing I also liked the idea of leaning towards the comedic side and making the video 'clumsy' and 'glitchy'  on purpose, by adding different after effects. Although I like how the effect turned out, I feel for a viewer watching it for the first time it may not make as much sense as the video is incomplete and the effect simply looks out of place.

In my music video I found a lot of things to be going wrong from the start, so I had to find quick solutions and adapt fast in the different situations.
The first issue I faced was my outdoor shooting day- after arranging the day as well as the 3 main locations for filming, Bedworth park, a small park in nuneaton and the Post office car park in Nuneaton I was planning on filming in Bedworth until 2.30pm, and film in Nuneaton for the rest of the day, however after just 30 minutes of filming it started raining and it didn’t stop for the rest of the day. Next time to avoid such complications I would check the weather reports beforehand and schedule 2 days of filming outdoors instead of 1 to make sure I'd get all the footage planned. If I was to redo this, I would definitely get as much footage as possible, and not try to rely on one day to finish all of my shooting.


When editing my music video, from my test shoots I knew, I wouldn’t be able to complete my initial plan of using 4 different 'personalities' on screen as when cloning the subjects have to be as far away from each other as possible, as when each subject is masked away on separate layers, if the subjects touch each other, the layers merge and the image looks poorly edited.

 I found that even after placing the subjects as far away from each other as possible, I could still see blurriness around the hands. Next time this could be avoided by placing each subject as far away from the camera as the space allows, as well as making the subjects moving as little as possible so they have enough space between them.

When first testing the space I'd have for 'cloning', and space on the screen, the space would hardly fit more than 2 people at the same time, which made me realise I had to change my plan and have less people than I had planned.

 I also had to make sure I had two lights at all time when filming on the green screen, as each person had to be well lit individually on its part of the screen, so once cloned the whole picture would look well lit together , with no shadows at the back, which would of interfered with the editing the green screen out.

Even though the green screen turned out well, in the process of editing, I realised even though it looked like the green screen was one, they were 2 in fact from the two individual scenes I combined, therefore making it unable to edit as the clips were on top of each  other and every time i tried to edit them individually they would interfere  with each other and  distort the image.









I'm also not happy with some of the clips towards the end and how they don't match the lyrics of the song or are edited out of beat, or example the camera spin on 1:44 minutes, and how it appeared out of nowhere. This is due to the lack of footage on my side which made my sequence look out of order, and made the execution of my planned video impossible. To improve next time, I would make sure I have a clear plan and a timed graph from the beginning and use everything learned from this module to plan ahead better and use my time more wisely.

Film Studies- short film +evaluation

https://youtu.be/N1k1lbphWUo

For my short film Ive included  the theoretical ideas of Lacan and the idea of the lack, never having  enough and Mulvey's theory of the male gaze in cinema.

At the start of the film I wanted to incorporate a series of shots of a female doing feminine tasks such as brushing her hair, putting lipstick on, painting her nails, putting tights on, to further justify the idea presented by Mulvey, that females are only seen as objects to gaze at in cinema, with no real purpose or meaning to the plot. 

Something that i changed from my original idea was the dream  sequence. Instead of waking up on a street and seeing only other females around I wanted the audience to know they are watching a dream or something unrealistic , to portray the scene and the meaning behind it i used a green screen instead and used footage from a meat factory and a Barby doll factory to again portray Mulvey's ideas through my perspective- women seen as nothing more than 'meat' and brainless  dolls made in a factory. The T-shirt also worn at the scene has the words 'fearless and feminine' which juxtaposes the scene as the girl is scared and the idea of the feminine has turned around. 

As the dream sequence ends i wanted to show the audience that the only lesson that the girl took was that she simply  needs more materialistic items and be pretty to do better- looking through pages of makeup, wanting more. I also wanted to use the audio from the Advert to show that even when not on, the thought of it its still there.

To end my short film I wanted to have the advert play once more after the girl has bough the lipstick, showing the repetition of the circle, as she is not going to be satisfyied and will keep on buying to fill the lack of the 'thing' in nthe back of our mind as Lacan calls it.

New Wave film +evaluation

How my New Wave film, I used both a DSLR camera and a phone camera to not only give the film a realistic feel but also make the audience aware that they are watching a film, which was the main idea   and concept for the directors of the New wave movement. At the start I was planning on using a simple narrative with no emphaisis on it and rather focus on the editing however as I started filming I didn't find the idea of placing the camera on a busy street challenging enough nor interesting. However I still liked the idea of filming old buildings, but rather than filming on one location, I decided while I was in Bulgaria, to go in the capital without a map, get lost on purpose and find old buildings and interesting places to film while turning my film into a short story- from catching the plane and going away to building a montage-like story of the travel. I also didn't stick to my idea to use  voiceover throughout, and chose to tell the story through the videos so the viewer would stay active and engaged in the story and wouldn't rely on the narrations.

My aim was to use as many of the editing techniques used in the French new wave cinema as possible, while adapting it to the surroundings I was in while in Bulgaria, mixing the two. I think I achieved that right from the start of my short film using a long shot in a car while there is a casual dialogue in Bulgarian taking place. Rather than using an establishing shot, the camera is seen as being the observer which is similar to the documentary style of Godard, and the dialogue in Bulgarian almost puts a distance between the viewer and the people in the shot. To distance them even further I choose not to show their faces but rather use their conversation as a background.

To further show the influence of the French new wave on my film I used the song Les Champs-Élysées by Joe Dassin, upbeat and popular French song, which people would of connected to France straight away, however I also used colours, to show elements of the style of editing of Goddard like in his film Contempt- for a short sequence the colours change from from red to blue and then back to normal, in tact with the beat of the song.

I wanted to use subtitles when speaking in Bulgarian, however I only used them in parts where I found important, and that the viewer would engage with what they see on the screen. I also included an example of breaking the forth wall, when on one of the clips, a girl turns around and points to a building as the camera pans from her to the building, breaking the conventions of mainstream cinema.

What I would of changed is, next time I'm filming, id make a clear plan ahead of time, research and map the places I need to go to to save time and find different locations, which would support my narrative.

French New wave essay

'Photography is truth, and cinema is truth 24 times a second' - The little Solder, 1963, Jean Luc Goddard. 

Nouvelle vague, or the French new wave first emerged in the 1950s and 60s and is said to be one of the moist influencial movements in the cinema history.  As that was also the time when France emerged from World War II, and was undergoing economic crisis, it was time of rebuilding the country not only physically but also its national identity. The new wave was born through the dissatisfaction of the filmmakers and critics at the time who felt as traditional cinema lacked something and it wasn’t truly representative nor reflective of the chanages happening in France at the time. In an interwiew Truffaut states “I liked cinema as it was, but felt it lacked sincerity. I just wanted to improve it”. They wanted to break the rules, of what was considered acceptable in fillmaking, critisising the work of their French forefathers and praising the work of american directors such as Alfred Hitchcok, Orson welles, etc. The New Wave filmmakers rejected the practise of studio production and can be defined for their use of jump cuts, handheld cameras, filming in real locations with an improvised script, characters speaking directly to the camera often wearing their own clothes and a small crew on a very small/tight budget. The focus, for the filmmakers, was on the way in which the story is told rather than the importance of the story itself; they wanted to redefine film form. Therefore, capturing a sense of realism in capturing off guard moments and throwing the audience out of the film with the adaption of these experimental features allows them to question what they are seeing rather then getting emerged in the film. 

The importing of American films was banned by the Nazi, and just after the liberation, in 1945 the culturaly starved France got a backlog of American cinema starting to hit the screens. That was the first exposure to hollywood films and the first influence on the still young critics. For them the American cinema was more varied and more exciting than the postwar productions of the French films. The american economic dominance created an ideological dominance in the minds of the dominated.  

A revolution had begun; after years and years of rationing, shortages, tension and political outrage, France was finally getting back up on its feet. Technological innovation brought around enormous change in societyy, making consumer goods such cars, televisions and the like more affordable for the general public. Black and White films were a thing of the past, and wide screen formatting was in use - it was a new Golden age for France and for French Cinema. 

Francois Truffaut was born in Paris in the 1930's, and developed an early interest in cinema from a young age. He used cinema as a means to escape from his normal life. Truffaut became one of the most famous French film critics from the new wave period. He was first published by Cahiers Du Cinema in 1954, with his article 'A Certain Tendency in French Cinema'. This article was a huge hit and became the basis of Truffaut's career. The article was aimed at the most famous directors and screenwriters of the present day, he condemned them as sarcastic, profanatory and deceiving. He was the director that opened the doors to the new wave style with his film The 400 blows. After being banned from the Cannes film festival in 1958 to start with, for his offencive remarks regarding french cinema in his film criticism for Cahiers, to then win the directors Prize at the next years festival with Les Quatre Centc Coups. The 400 blows is a semi-autobiographical movie about life, the life of a misunderstood boy. Inspired by Truffaut's own early life, it shows a resourceful boy growing up in Paris and apparently dashing headlong into a life of crime. Adults see him as a troublemaker. We are allowed to share some of his private moments, as when he lights a candle before a little shrine to Balzac in his bedroom. The film's famous final shot, a zoom in to a freeze frame, shows him looking directly into the camera. The film begins with a series of tracking shots interpreted as the point of view of a child starring out of the car window. That’s important as the only other significant scene where we do see a child's perspective of Paris seen through a car window is at the end where Antoine is in the police car. With the frequent use of fades, jump cuts, mash cuts and numerous long takes as Truffaut shows his vision as an auteur- the dominant creative force behind a project, and use the camera stylo (the camera as a pen). The film is also stylistically told in a series of small episodes, all linking together in a chain of cause and effect- Antoine runs away from home because he lied, he lied because he skipped school, he skipped school because he was unfairly punished in class, he was punished in class because of his classmate passing him a poster. 

Another film directed by Truffaut, which represents the era of the New Wave cinema is Jules et Jim based on Henri-Pierre Roché's 1953 semi-autobiographical novel about his relationship with writer Franz Hessel and his wife, Helen Grund. One of the seminal products of the French New Wave, Jules and Jim is an inventive encyclopedia of the language of cinema that incorporates newsreel footage, photographic stills, freeze frames, panning shots, wipes, masking, dolly shots, and voiceover narration (by Michel Subor). Truffaut's cinematographer was Raoul Coutard, a frequent collaborator with Jean-Luc Godard, who employed the latest lightweight cameras to create an extremely fluid film style. For example, some of the postwar scenes were shot using cameras mounted on bicycles. A good example of his vision as an auteur showing his cinematography and editing is during the Jules and Jim's bridge race, wherein Jules, Jim, and Catherine race across a bridge. Catherine, hiding her femininity by dressing as a man to see if she could get away with it, shows her character as a cheater during this race -she takes off before the men start running, and ends up crossing the finish first. Truffaut’s edit of the scene shows Catherine running while the other two remain still, then cuts to a portion of the way down the bridge. “You cheated,” they say. “Yes, but I won.” The scene also foreshadows how the film will evolve as the two friends will spend their lives chasing after her, despite her constant attempt to cheat.

Jean-Luc Godard, born in the 1930s and began his career in film-making when he co-founded Gazette du Cinema in 1950, which was a short-lived film journal. He later joined Cahiers Du Cinema, where he would find himself writing film critiques alongside the likes of Francois Truffaut, Eric Rohmer and Claude Chabrol; all of which would become vital figures in the beginning of the French New Wave movement, , forming the nucleus of what we now call “French New Wave directors” or cahiers du cinéma. He dabbled in documentaries and short films before finally making his most successful and iconic feature film: Á bout de souffle./breathless . co-written by Truffaut, and released in 1960. It was praised for its uniqueness and innovation; never before has a director used the jump cut so prolifically. He uses back-to-basics filmmaking, abandoning sets in favour of real locations. He rarely uses anything but natural lighting and handheld cameras and intentionally breaks the 4th wall. An investigation into the french filming identity in the shadow of Hollywood dominance He has no problem with revealing cinematic artifice; at one point, our hero, Michel Poiccard is humming a tune while the shot cuts several times despite tune remaining intact. Poiccard also uses direct address. Here Godard uses abstract realism. His themes reflect the existential boredom suffered by the youth of the time, explored through his non-motivated dialogue and fragmented narrative. 

Godard’s documentary style of filming reinforces a sense of realism, he often fed actors lines from behind the camera or told them to improvise speech was often dubbed due to the camera being too loud or unwanted background noise. 

Le Mepris (Contempt) was made in 1963 and is a self-reflexive film, much like Une Femme Est Une Femme, highlights the difference between film and reality. The narrative follows the disintegration of the relationship between the disillusioned wife (Camille) of a screen writer (Paul) who gets roped into a project with an American film producer (Jeremiah). This storyline, like several of Godard's other films, echoes the breakdown of Godard's marriage with his wife, Karina. In fact, cinematographer Raoul Coutard referred to Le Mepris as 'a letter to Godard's wife' (Raoul Coutard, Carleton 2015).
 Contempt was the film that Bardot used to return back to screen as she had previously taken a break from acting to escape the medias attention. As we can see in the film Goddard exploits her looks, finding multiple opportunities for her to bathe or lie around naked, he also takes the advanatge and draws out a theme of sexual objectification in the process . The most obvious example being at the start of the film in Bardot’s first appearance. She lies, again, nude on the bed, while talking to her onscreen husband- she asks him about different parts of her of her body, verbalising the fetishistic, cataloguing of body parts that the camera performs as it glides, in an unbroken take, up then down her back. The scene was added as Joseph e. levine insisted on a certain amount of Bardot nude scenes. Goddards response was a scene that resists easy eroticisation: instead of allowing the viewer unalloyed voyeuristic pleasure, Bardot’s commentary on her own attributes reminds us that she knows she’s being looked over, and that our inspecting gaze is not innocent, invisible or unnoticed. This sequence is a good example of Godard allowing form to speak over, or through the content: The colour filter on the shot begins red, changes to white, then turns blue.
Throughout his film-making career, Godard was fascinated with exploring the ways in which women interact with relationships as femme fatales. In Breathless, he looks at how women betray, in Pierrot Le Fou he looks at how women run away and in Contempt, he looks at the way in which women become faithless. However, what makes Contempt different is how Godard emphasises the fact that a man may be at fault for the loss of a woman's love. (Philip Loptate 1997)

Overall looking back, their work clearly illustrates how they are not afraid to fail or be judged for not only breaking the conventions of the mainstream cinema but also establishing their own creative style of filmmaking  I think its easy to say -They transformed the world, one film at a time. 

Bibliography 

The little Solder, 1963, Jean Luc Goddard. 

The 400 blows, (1959) François Truffaut

Contempt (1963) Jean-Luc Godard

A Bout de Souffle, (1960) Jean-Luc Godard

Jules et Jim, (1962), François Truffaut

Chris wiegan (2001) French New Wave. Pocket essentials film. Herts 

Richard Brody (2008). Everythng is cinema. The Working life of Jean-Luc Godard. London

Nowell-Smith. (2013). Making waves. New cinemas of the 1960s. Rev. ed. London: Continuum Publishing Co.

Introduction to Film Studies, Nelmes, Jill., 2011. Hoboken: Taylor & Francis.

https://www.youtube.com/watch?v=yV5Wf5VGVy8