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This video essay by Cristina Álvarez López and Adrian Martin explores how an early scene in Jean-Luc Godard's CONTEMPT encapsulates the feeling that the film sits nervously astride two eras, the classical and the modernist: http://mubi.io/2zp1h9y The challenge of composing any decent history of film style is to account for, and accurately annotate, its transformations. And this is an especially acute challenge when we find ourselves in a transit-lounge that overlaps different periods—such as the 1960s, when classical mise en scène became something which could be rejected wholesale, but also referenced, cited, evoked—and thereby bracketed, problematized, and merrily interfered with. There are many sly ways in which the modernist cinema of the 1960s played with strategies of narrative and mise en scène. For Study Purposes Only. 30 Days of Great Cinema Free: https://mubi.com/youtube Subscribe to our YouTube channel: https://mubi.io/2XVL0VN Follow us on Instagram: http://mubi.tv/299eJ7G Follow us on Twitter: http://mubi.tv/1PcdRyO Follow us on Facebook: http://mubi.tv/29adiHj