Fresh Print of Godard's Pierro le Fou as the Mirror of Cultural Production

Fresh look at Godard's Pierro le Fou amazes at its masterful use of just the notion of intertextuality that must have been gaining in theoretical currency at the time of the New Wave of the French cinema that on the background of apparently low-budget production costs, as far as Hollywood standards go, exhibits high level of cultural investment into a feature film that runs slightly longer than a B-class movie of the day would, given the epic lengths of the major film productions that made the press headlines and roster of critical reviews, which extends the film work not only between the low and high cultural genres, as car chases, social characterizations, and comical moments attest, but also between the 1960s and 2000s as the matters of political, poetical, and social awareness that the film raises before the amused gazes of its viewers have retained their relevance almost to a degree that structural analysis, just coming into theoretical vogue as Godard was making his film, reveals with striking precision when Vietnam war, mediatization of violence, quantified reports of combat casualties and collateral damage make film characters, as well as us by extension of identification, wonder about what would it take to understand the lives the fate of which modern media of representation convey.