Jean-Luc Godard's "Pierrot le Fou": Cinema as Collage against Painting

Alan Williams, for example, describes Godard as an "omnivorous" collector of literary and visual sources (380), which in Pierrot range from high art to comic strips, from Pop Art to television broadcasts, and include the reproduction in all manners of written texts and book covers, anagrams and record jackets, neon signs and advertisements. (Leutrat 27) Finally, it is not surprising that Godard welcomes the iconography of pop art within the collage aesthetics of Pierrot le Fou which, in turn, include an array of industrial objects beloved by pop artists: cars, walkie-talkies, T-shirts, lipsticks, jukeboxes, and pin-ball machines.