Word: gai
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...Gai Savior. Jean-Luc Godard considers the film the beginning of his deep political involvement in issues of production and class struggle. Whatever concrete ideas he may hold, however, are lost in the groping opacity of the experimental style that controls the film...
...quai on the Right Bank of the Seine where Utrillo once painted his cityscapes while patient fishermen waited for the carp to bite. The Place Vendôme, Place de la Madeleine and the Avenue Foch have been gouged to accommodate layer on layer of cars in subterranean parking gai ages. It all adds up, reports TIME Bureau Chief Charles Eisendrath, to Paris' biggest urban renewal since the 1850s, when Baron Georges-Eugène Haussmann tore up much of the medieval town and started creating his city of symmetry, parks and long vistas...
...freely from them-we are accustomed to such images. But the sign system by which we read these images is an ideology of the class in power. Whenever a conscious formal design does not structure our reading of an image, we have fallen into "the ideology of real life" ( Gai Savoir ), i.e., the implicit ideology in the bourgeois way of seeing. The first step for the revolutionary moviemaker is, as Juliet Berto says in Savoir, "to dissolve sounds and images." "The ear is the eye's politburo...
...heroes, keeps him from a direct (and therefore false, because unexamined) participation in "reality." He does what he can- he refines images and sounds as means of analyzing and coming to know reality, the way a philosopher might refine his terms or a physicist his instruments. Le Gai Savoir, as of 1968 Godard's furthest attempt, is consequently cut off from reality. There's no more going into people's homes with questions, no direct action or activism, no direct contact with reality for the characters. The images Leaud and Berto see are all second-hand; still photographs with handwriting...
...film become the scientific tool of analysis Godard needs so he can reach sure knowledge of the real. His desperation for experiences of the real will not let him accept delays; but on the other hand his rationalism will not let him follow a shoddy line of analysis. Le Gai Savoir, far from being a crude propaganda film, absolutely refuses to move beyond the separate and minimal truths about film that it reveals. This refusal kept him from adopting a "correct" line before 1969; since then it has made him constantly redefine his Maoism...