Identification, Estrangement, and Colour in Weekend

In his article, "Godard and Counter-Cinema", Peter Wollen establishes clear differences between Hollywood-Mosfilm (old cinema) and counter-cinema. One such difference of particular interest is the second: Identification vs. Estrangement. Wollen suggests that the former depends on "empathy, (and) emotional involvement with a character", while the latter employs "direct address, multiple divided characters, (and) commentary" (75). In Weekend, however, it appears to me that an odd combination of identification and estrangement pertains most  readily. It is in this sense that a "struggle" against mainstream cinema (a feature Wollen also says must be present in counter cinema in order to validate it as such; Lecture 15.10.08) manifests itself. 

Audience members, I believe, are in fact invited to identify with characters. In particular female audience members are invited to identify with Corinne- a character who in her darkened, comparatively close-up "Interrogation Scene" (Lecture 15.10.08) appears vulnerable and feminized. Hunched over, near (if not entirely) naked,  and shown in profile view, Corinne appears innocent largely based on her gesture and posture. She is the object of the gaze and is in many ways victimized. I believe many women would in fact identify with her metaphorical, subservient and sad position, though she herself does not express these feelings. Again, though her language and speech (discussing an orgy she experienced) conflicts with such an innocent interpretation of her character, I felt as if an element of pathos and emotion attachment was being begged in the scene. 

At the same time, however, the scenes with Corinne are repeatedly interrupted by flashes of red, white, and blue bolded text. These scenes literally provide commentary and visually fragment the scenes of a character I otherwise felt compelled to identify with. In this manner, Godard seems to rely on a major element of estrangement in his film. 

Through the combination of identifying and estranging elements in his film, Godard appears to capture a struggle inherent in counter and Hollywood cinema. Weekend thus refutes the clear division Wollen seeks to explain while at the same time, it captures his underlying argument of conflict between two major styles of cinema.