The author considers the incredibly emotional and subjective reaction to Jean-Luc Godard's film 'Pierrot-le Fou'. Critics have often identified the main character Pierrot-Ferdinand with Godard himself -the unhappy artist in the grip of passion in an unquiet time, hostile towards individuals unwilling to submit to the rules of contemporary society. 'Perriot le Fou' presents us with a vision of the world that is masculine, passionate and lethal. Ferdinand's distaste for culture based on consumption is nonetheless coloured by hypocrisy. It is a game of 'love and hate'. The main character 'does not believe in the real worlds', and can only communicate with the world around him only through a participation in the game. The author suggests a higher meta-critical level - the analysis of the motivation of the main character in the context of structuralism, linguistics, and psychoanalysis, which both create and isolate the main character from the world around him. Thus created person reflects the condition of a western intellectual, and in that sense we can speak of self reference of Godard's film.
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