Word: context
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Dates: during 1970-1979
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...comprise most of the extant case law on audience rights. Since they date back more than fifty years and primarily concern religious meetings, they can only be suggestive for current problems. There do exist, however, two recent cases that examine the issues discussed by Judge Shaw in a contemporary context...
...transgress certain boundaries. The Supreme Court has ruled that if a speaker creates a "clear and present danger" of a substantive evil that the state has a right to prevent, he can be silenced or arrested. Such a test very much depends upon circumstances since language provocative in one context might be applauded in another. The burden, however, appears to lie with the speaker to avoid inciting to riot or using language that would cause an average man to fight. According to a Note in the Harvard Law Review (1967), "If the varying nature of audiences can be taken into...
...Sounds: As both branches of the militant cinema agree, images do not speak for themselves. Sounds-which Godard has called "the oppressed track" in the cinema of Nixon Paramount-serve as a force of equal importance as images in dialectical analysis, through linking facts and context. Except in a few direct interviews Solanas maintains a tension between images and sounds such that comprehension develops along parallel and contradictory lines of struggling ideas. The gestaltist impulse to force correspondences produces irony and consequently a sense of the film's materialist superstructure...
...difference between such immediacies in Real Life and in a movie theatre is of course quite vast. Where-as the direct witness to an atrocity defines his relation to it in terms of action, the spectator of an alienated "reality"-deached from its physical context-can only define his attitude, a situation that gives rise to the impotence of liberal guilt and its sublimation on the level of a vague idealism. Effective and detached political analysis is swept aside as pure intellectualism, heartlessness. And the underlying material determinants remain obscured...
...Class Images: Solanas' principal means of demystification is the division of images along class lines. Structurally this entails assailing immediacy by placing all elements within a context of material contradictions, a dialectical syntax already discussed. On the level of individual images-the sign-system-class division means that appearances possess abstract class associations and at the same time serve as concrete receptacles for the ideology presented by the sound-track. These images are not called upon to reproduce reality, but to act as models used in discussing, describing, criticizing reality. Rather than collecting a predominance of "convincing" visual examples...