|Fig. 1 La Jetée poster.|
|Fig. 2 Image of the beautiful woman.|
|Fig. Protagonist admiring his love.|
Incredibly romantic and beautiful, the story of 'star crossed lovers' is a theme not only scene within fairy tales but Greek Mythology too. Victor Burgin expressed his interpretation of the narrative as Greek Mythology: "In the classical myth, Orpheus leaves the world of the living to seek Eurydice amongst the ghosts in Hades. In La Jetee, the hero leaves his underground prison - a living hell - to seek the anonymous object of his desire in a sunlit world of living ghosts: alive in their own time, dead in his own." (Burgin, 2004:93-4) The still black and white images are instrumental in portraying the ghost-like appearance of all the characters within the film. The relationship between the man and woman, as previously established, is one of an impossible love as they are both seperated by their different time periods. Burgin goes on to explain that "The underworld of Classical cosmography exists simultaneously, in parallel with the world of the living. Orpheus and Eurydice are separated in space. The man and the woman in La Jetee are separated in time." (Burgin, 2004:94) much like the couple from the myth, the man and woman are separated in a way they cannot change. However, in La Jetee the man and woman appear to be on the opposite planes to those from the myth. The future that the man comes from is hellish and dank, he lives in the underworld of what was once Paris and his love lives in the past, as world full of life and light. One example of this life that dwells within the woman's time is the use of the only live action film. Burgin goes on to express that it is used to "represent the fleeting moments of liberation against the generalized immobility of the man's living death in the camp. The man in La Jetee is doubly immobilized: as prisoner, and as experimental subject - his movements constrained by the hammock to which he is confined." (Burgin, 2004:100) This tiny use of 'life' within the still images is a shock to the audience as they have, so far, only seen the pain and suffering that the still images of the future portrayed and for the man's love interest to suddenly come alive really tells the audience how powerful she must be to him. Her life breaks through the rest of the stills and wakes the audience up in the same way she has awakened the man.
|Fig. The death of the protagonist.|
List of Illustrations
Figure 1. La Jetée poster. At: www.countercomics.com (Accessed on 02.02.2011)
Figure 2. Image of the beautiful woman. At: www.watchundergroundcinema.blogspot.com (Accessed on 02.02.2011)
Figure . Protagonist admiring his love. At: http://filmsdefrance.com/FDF_La_Jetee_rev.html (Accessed on 02.02.2011)
Figure . The death of the protagonist. At: http://sebald.wordpress.com/2008/02/24/memories-as-scars-la-jetee/ (Accessed on 02.02.2011)
Collier, Peter, Mavor, Carol (2009) Anamnesia: private and public memory in modern French culture. Switzerland: Peter Lang AG
Burgin, Victor (2004) The remembered film. London: Reaktion Books Ltd.
Rodowick, David Norman (2003) Gilles Deleuze's time machine. USA: Duke University Press