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Abstract
Before the 1960s, cinema was predominately focused on previous works of literature or the history before WW2 in France. A group of French directors in the late 1950s and 1960s, or the nouvelle vague (new wave), which can be directly translated to the new wave - contradicted this notion because they felt like this did not depict the realistic lives of people and produced films that countered the dominant cinema. Agnes Vardas 1962 Cleo from 5 to 7, follows Cleo (Corinee Marchand) in real-time on her journey through Paris, awaiting for the diagnosis relating to her cancer. This article argues that through the objectification of Clo under the male gaze, the audience is sutured into Clos perspective, allowing them to empathize with her emotions and understand the struggles that women face in a contemporary setting. This essay argues the point above by the detailed analysis of two particular scenes focusing on camera shots and the iconography of certain props and actions. By doing so, the analysis mirrors the social and political problems regarding gender of the films particular time of 1962.
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