Philosophy of modernist cinema and imaceral narrative in Godard cinema

After the Second World War, there were significant developments in the field of cinema as well as in the social, economic, social and political fields. The process that began with the change created by the New Realism Movement, which is part of the modernist movement, teached its peak with the New Wave Current emerging in France. Especially during this period, the New Wave Current, which had a significant impact on the history of cinema, led to the emergence of the concept of Counter-Cinema, known as against the classical narrative structure of mainstream cinema. The concept of Counter-Cinema corresponds to a structure that tries new ways of narration by rejecting all elements of mainstream cinema. On the axis of this debate, unlike other directors of The New Wave Current, Jean-Luc Godard has come to his audience with new techniques by highlighting certain elements in every period during his film career, and in addition to constructing the traditional narrative, he has taken a critical and aesthetic approach in the use of images. From this point on, the study aims to focus on the visual expression in which the image is produced through images and the world of images of the director. In addition to the Godard technique and form, the films in which images are produced by means of images and which are equivalent in the cinema (La Chinoise, 1968) Chinese Girl, (Tout Va Bien, 1972) Everything Is Fine, (Vivre Sa Vie, 1963) Living Your Life were selected. In addition to the films that deconstruct the classical narrative, each period has been evaluated in itself and the structure of the images has been examined by the method of content analysis over these three films. In this sense, Godard broke the traditional narrative structure by using a creative method of each of the cinematographic narrative elements and the images on the axis of critical perspective arising from the practice of the director; political, social, economic and social structure. Keywords: Modernist cinema, imaginary expression, french cinema, philosophy and cinema