Word: camus
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...matter how loudly we all say it, no matter how loudly we all say it, no matter what ceremony we perform around our saying it, we will not become a community among ourselves nor effective agents for changing our country if a negative is all we share. Albert Camus said that the rebel, who says No, is also one who says Yes, and that when he draws a line beyond which he will refuse to cooperate he is affirming the values on the other side of that line. For us who come here today, what is it that we affirm...
...different modes of speech, and each of us habitually uses only one of them to talk and think in. But what is happening today should make it clear that that these different modes of speech, all overlap one another and they often all say the same essential things. Albert Camus, who struggled in a more serious Resistance than ours, believed that politics is an extension of morality, that the truly moral man is engaged in politics as a natural outcome of his beliefs...
...artist trying hard to develop an aesthetic where the zoom replaces the moving camera. He hasn't succeeded yet; Visconti is most comfortable with romantic, even operatic, material, and therefore his most effective zooms are fast and dramatic (the zooms to close-ups of Cardinale in Sandra, for example). Camus' L'Etranger is not a romantic story, and Visconti's slow and disciplined camera-work, though impeccably framed and lit, sometimes lacks the conviction to make it more than simply illustrative. Nonetheless, in the second half, beginning with the beach sequence, L'Etranger becomes a tour de force of subjective...
...more than a quarter of a century since Albert Camus wrote The Stranger, perhaps still the best modern novel of alienation and despair. Though Camus steadfastly refused to allow it, or any of his other books, to be made into a movie, his widow finally sold the film rights to Italian Producer Dino De Laurentiis on condition that the director be Luchino Visconti (The Leopard, Rocco and His Brothers...
...film. But with Meursault awaiting the guillotine, the action of the book-and the movie-moves inside his mind. The camera is left staring at Mastroianni while his voice on the sound track soliloquizes on life, death and the meaninglessness of it all. The sequence is faithful to what Camus wrote, but it is a shame that Visconti could not have found a more cinematic way of getting it across in a film whose power otherwise almost matches the book that inspired...