![]() Furthermore, Roxy’s name is the only one projected in red, which means that it is the only one which appears spatially detached from the background in the 3D version. In the final credit sequence, the name “Roxy Miéville” is the only name which is projected individually and not as part of a list, and in fact the only name which remains on screen long enough to be read (the other actors’ names disappear almost as quickly as they appeared, to the point of creating a sense of credit withdrawn rather than given). 3 Roxy has the first close-up, which is part of the opening sequence, and commands the last two shots of the film, which show her running into the woods and returning and running towards the camera along the same forest path. 2 In a film with a run time of 69 minutes, Roxy is on screen for 9 Minutes and 6 seconds, or, in the parlance of statistical film analysis, 13.2% of the time – significantly more than any other actor in the film. In the general excitement over the invention of new types of never-before seen plastic, pluriperspectival images in Adieu au Langage ( Goodbye to Language, 2014) – the “third images”, as Daniel Fairfax proposes to call them, which were rewarded with spontaneous applause by the film’s premiere audience in Cannes 1 – it was largely overlooked that Jean-Luc Godard’s first 3D film was also his first animal picture.Īccording to the usual measures – screen time, the number of close-ups, font size and type in the credit sequence, advertising – Roxy Miéville, a cross of Appenzeller farm dog and pinscher who has been living in the Godard/Miéville household since 2010, is undoubtedly the star of the film. – Rainer Maria Rilke, The Eight Duino Elegy (trans. ![]() “ With all of their eyes, animals behold openness.”
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