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THE SELF-REFLEXIVE REIMAGINING OF THE MUSICAL in JEAN-LUC GODARD’S UNE FEMME EST UNE FEMME (1961)

JEAN-LUC GODARD’IN UNE FEMME EST UNE FEMME (1961) FİLMİNDE MÜZİKAL TÜRÜNÜN ÖZDÜŞÜNÜMSEL DÖNÜŞÜMÜ

Zühre Canay Güven(NECMETTİN ERBAKAN ÜNİVERSİTESİ)0000-0002-3715-2089
Pages
1171–1194
Publication Date
2026-10-01
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AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

In this respect, the study suggests that the musical genre, often treated as a coherent and harmonious aesthetic form, needs to be reconsidered in neo formalist terms, revealing how its formal conventions are deliberately disrupted.

📌 3 Key Takeaways

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Objective & Hypothesis:Une femme est une femme (1961), directed by Jean-Luc Godard, is one of the most distinctive examples of the French New Wave that critically reinterprets the aesthetic codes of classical Hollywood musicals.
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Key Findings & Data:Within this framework, the dominant principle of the film is identified as the aesthetic codes of the musical genre, while the defamiliarization effect is examined in relation to formal strategies: awareness of the camera, the use of the use of typography, and the parody of the musical form.
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Conclusion & Impact:In this respect, the study suggests that the musical genre, often treated as a coherent and harmonious aesthetic form, needs to be reconsidered in neo formalist terms, revealing how its formal conventions are deliberately disrupted.
🔬Design:Araştırma Makalesi
📍Scope:Comprehensive Sample
⚙️Variables:Müzikal film · Özdüşünümsellik · Neo-formalizm

Abstract

Une femme est une femme (1961), directed by Jean-Luc Godard, is one of the most distinctive examples of the French New Wave that critically reinterprets the aesthetic codes of classical Hollywood musicals. This study investigates how the musical genre is reconfigured in the film within the framework of self-reflexivity. Methodologically, the study adopts a neo-formalist film analysis. The analysis is structured around two key concepts of neo-formalism formulated by Kristin Thompson: (a) the dominant principle and (b) the defamiliarization effect. Within this framework, the dominant principle of the film is identified as the aesthetic codes of the musical genre, while the defamiliarization effect is examined in relation to formal strategies: awareness of the camera, the use of the use of typography, and the parody of the musical form. The findings demonstrate that Godard disrupts the musical genre’s aesthetic logic of rhythm, harmony, and spectacle by means of self-reflexive interventions. As a result, the film breaks the musical’s conventional structure based on emotional identification and instead draws attention to the mechanisms of cinematic representation. In this respect, the study suggests that the musical genre, often treated as a coherent and harmonious aesthetic form, needs to be reconsidered in neo formalist terms, revealing how its formal conventions are deliberately disrupted.

Özet

Jean-Luc Godard’ın yönettiği Une femme est une femme (1961), klasik Hollywood müzikallerinin estetik kodlarını eleştirel olarak yorumlayan Fransız Yeni Dalga sinemasının dikkat çekici örneklerinden biridir. Bu çalışma, söz konusu filmde müzikal türünün özdüşünümsellik bağlamında nasıl yeniden düzenlendiğini incelemeyi amaçlamaktadır. Araştırmada yöntem olarak neo-formalist film çözümlemesi benimsenmiştir. Analiz, Kristin Thompson’ın neo-formalist yaklaşımında yer alan egemen ilke ve yabancılaştırma etkisi kavramları temelinde gerçekleştirilmiştir. Bu çerçevede filmdeki egemen biçimsel ilke müzikal film türünün estetik kodları olarak belirlenmiştir. Yabancılaştırma etkisi ise kameranın farkında olma, tipografi kullanımı ve müzikal türün parodisi gibi biçimsel stratejiler üzerinden incelenmiştir. Çalışmanın bulguları, Godard’ın müzikal film türünün ritim, uyum ve gösteri mantığına dayanan estetik düzenini özdüşünümsel müdahaleler aracılığıyla kesintiye uğrattığını göstermektedir. Film, bu stratejiler sayesinde müzikal türün duygusal özdeşleşmeye dayalı yapısını kırarak izleyicinin temsil mekanizmasını fark etmesini sağlamaktadır. Bu yönüyle çalışma, Une femme est une femme (1961) filmi üzerinden müzikal film türünün çoğu zaman bütüncül ve uyumlu bir estetik form olarak ele alınan yapısının neo-formalist analiz aracılığıyla yeniden düşünülmesi gerektiğini ortaya koymaktadır.

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Cite This Article

Güven, Z. C. (2026). THE SELF-REFLEXIVE REIMAGINING OF THE MUSICAL in JEAN-LUC GODARD’S UNE FEMME EST UNE FEMME (1961). Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi, Cilt: 14 Sayı: 2, 1171–1194. https://doi.org/10.19145/e-gifder.1807692

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