Word: cinemas
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Dates: during 1960-1969
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...English tourists mixed in." "The ones from the Rolls-Royce?" she asks. "There must be some of your husband too," the voice answers. She continues eating with no reaction. The word "fin" appears on the screen, enlarged at once to "fin du conte" and then changed to "fin du cinema." The sequence reveals Godard's awareness that in Weekend he destroyed the only cinema he loves--the American narrative ("conte") film...
...Godard's or Ray's films proceed, their characters discover more and more about their settings, which are colored by their perceptions--yet finally stand as independent entities. The characters, neither controlling nor controlled by their physical setting, have to solve their problems independently--this is no fatalistic cinema--but the meaning of the film is created in the characters' reactions to, and actions within, their setting...
Bourgeois society, having destroyed their sensibilities, must also be blamed for destroying a cinema whose method and meaning depended on those sensibilities. The violent attacks on the audience through presenting raw events, the meaninglessness of characters' actions, the blatant anti-capitalist propoganda of Weekend do not show Godard committing cinematic suicide. His integration of subject matter and approach demand this treatment. To critics who see Weekend as the end of the line, one must mention Les Carabiniers, a film that uses moral imbeciles in just the same way to attack war. Its events are as senseless and brutal; its plot...
...CINEMA...
...CINEMA...