The modern audience might be amused of how Godard suddenly breaks the 4th wall this way. They can perceive the breaking as a form of interpersonal connection, a way to get into the mind of the audience to make them think about filmmaking too, not just the film. A 1959 audience might be a bit shocked, as if their spectatorship has been violated. They might also seem confused of what Michel means. The influence of the technique up to now may not have the same power as before because it might seem too contrived, depending on how it is executed. Or it might just seem like an overused technique for some of the modern audience who have seen it many times. Done before or within the context of avant garde films, breaking the 4th wall can attain the impact of changing how people see the film and the social context of the film. It can highlight the insight that film is about making impressions and images, a contrived way of affecting the audience through the right placing and combination of film elements.
2. One of the scenes that features several jump cuts is the transition between the long bedroom scene between Patrician and Michel and their kiss. Before the jump cut, Patricia starts a game where she will stop staring at Michel once he stops staring at her. After he does his usual rubbing of his lips mannerism, Patricia is in shallow focus and she rolls the poster to look at Michel through its hole. The poster serves as a double frame. She looks into him and the camera zooms, as if she is going deeper into his personality, trying to figure out why she is attracted to him. Michel keeps on staring at her, in this case, he also stares at the audience, and the shot zooms to a close up, making his necklace and cigarette appear closer and closer. The impact is that the audience sees only the physical and the material of his identity. He hides himself inside his carefree attitude to life. After that is the jump cut which is disorienting. All of a sudden,