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Godard further made the subject of each film work as its method. Thus Pierrot le Fou is a romance (subject) realized in flowing colors, soaring music, and a hero whose journey through this setting is the motive and organizing force of the drama (method). Individual alienation becomes the method of...

Author: By Mike Prokosch, | Title: The Death Of American Films | 7/3/1969 | See Source »

As she narrates romantic music swells and dies, at times covering her speech. The two characters' imperviousness to this, as to the physical beauty of their setting (stressed by the camera's motion), becomes more pointed in a ten-minute continuos track which follows their car as it passes a...

Author: By Mike Prokosch, | Title: The Death Of American Films | 7/3/1969 | See Source »

"Why are you paid by the CIA? Why are you speaking in this bourgeois theater?" That was Firebrand Danny Cohn-Bendit, leveling a barrage of billingsgate at Herbert Marcuse, the aging Pied Piper of the New Left, who appeared at Rome's Eliseo Theater to give a lecture, "Beyond...

Author: /time Magazine | Title: People: Jun. 27, 1969 | 6/27/1969 | See Source »

The speeches begin in 1965, when Grass campaigned for Willy Brandt, mayor of Berlin, then attempting to become Chancellor. In an essay not reprinted in this book, Grass explained, "The writer can become the conscience of his nation when he throws over his desk for a while, and, as a...

Author: By Aileen Jacobson, | Title: Speak Out! | 6/2/1969 | See Source »

When Grass criticizes contemporary German society in his novels and plays (a new play concerning a leftist student and a bourgeois dentist just opened in Berlin), he is not always successful, either as writer or as propagandist. The Plebeians Rehearse the Uprising is proof of that. But in these speeches...

Author: By Aileen Jacobson, | Title: Speak Out! | 6/2/1969 | See Source »

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