How did Jean-Luc Godard’s films call attention to the process of filmmaking?

Jean-Luc Godard’s films frequently called attention to the process of filmmaking by deconstructing traditional narrative language, creating a reflexive cinema—or meta-cinema—that provided a continuous commentary on its own creation.1

His techniques for achieving this included:

• Elliptical Editing: In his debut feature, Breathless (1960), Godard utilized "jump cuts" to create a jerky, disconnected effect that disrupted the smooth continuity typical of Hollywood films.21
• Improvisational Procedures: Godard often worked without a script, revising dialogue during rehearsals or even speaking lines to actors from behind the camera during takes.3
• Alienation Effects: His films often featured dialogue delivered as if the performers were detached from their roles, merely reading texts, and included shots of books or street signs that compelled a "disrupting awareness" of the medium.3
• Intertextuality: Godard frequently alluded to other films and directors, transforming acted fictions into intellectual essays. For example, he incorporated scenes from Metropolis into Alphaville and cast director Fritz Lang as a film director in Contempt.3