Godard believed that cinema should be an extension of criticism, a concept that he is able to achieve in Le Mepris through his criticism of traditional Hollywood cinema and the restrictions imposed on directors who were struggling to define their style and voice their interpretation of stories set before them. Godard is able to inject his personal interpretation of Moravia's novel by writing the script of the film and by incorporating aspects of his relationship with Karina into the film. Godard does not compromise his authorial interpretation of Moravia's novel, yet is able to stay within the parameters set before him by the producers of the film. In "The Art of Cinema as a Mode of Film Practice," Bordwell argues that ambiguity helps to unify realism and authorial expressivity; however, Godard does not employ ambiguity and allows the film to end conclusively. Godard believes, "A story should have a beginning, a middle and an end, but not necessarily in that order," which embraces traditional narrative to a degree and at the same time redefines it (IMDB). Camille believes Paul has sacrificed their relationship for his work, ends their relationship, and is subsequently killed, thus preventing her from continuing to wander aimlessly in the future. While her life had no purpose, per se,...

However, Godard pushes beyond the limitations imposed by Bordwell and Truffaut by finding a compromise between traditional narratives and new narrative approaches demonstrating the ever-evolving nature of cinema.
Works Cited

Bordwell, David. "The Art Cinema as a Mode of Film Practice." Film Theory and Criticism. Ed.

Leo Braudy and Marshall Cohen. New York: Oxford UP, 2004. 774-782.

Deleuze, Gilles. Cinema II. London: Athalone Press, 2005. Print.

IMDB. "Biography of Jean-Luc Godard." Web. 22 March 2013.

Le Mepris. Directed by Jean-Luc Godard. France: Embassy Pictures, 1963. DVD.

Truffaut, Francois. "A Certain Tendency of the French Cinema," Cahiers du Cinema, No. 31

(January 1954). pp. 10-17.