Word: godard
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Dates: during 1960-1969
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...Godard's Breathless and Fellini's la Dolce Vita open...
...will be seen that any kind of mass transportation, however powered, is more efficient than the family car. The Rand Corp.'s Stanley Greenfield, however, cynically argues that the revolt against the car may not take place until a thermal inversion, combined with a traffic jam out of Godard's Weekend, asphyxiates thousands on a freeway to nowhere. In addition, factories will have to be built as "closed systems," operated so that there is no waste; everything, in effect, that goes in one end must come out the other as a usable, non-polluting product...
...Period. And that's a broad range of topics. Members of the Ed Board write many of the policies, brass tacks (in-depth discussions of some current problem), and reviews of books, movies, and plays that appear on page 2 of the Crimson. Students who can review the latest Godard extravaganzas will be accepted with open arms. The same goes for those who can unravel the myriad complexities of national politics and institutions. The former are never forced to write politics and the latter needn't ever have seen a play, let alone reviewed one. You just have...
...Period. And that's a broad range of topics. Members of the Ed Board write many of the policies, brass tacks (in-depth discussions of some current problem), and reviews of books, movies, and plays that appear on page 2 of the Crimson. Students who can review the latest Godard extravaganzas will be accepted with open arms. The same goes for those who can unravel the myriad complexities of national politics and institutions. The former are never forced to write politics and the latter needn't ever have seen a play, let alone reviewed one. You just have...
...antecedents in American gangster and romance pictures depended on their characters' moral sensitivity; reaching to the films' violent events, the characters made sense out of them by judging them. The complete breakdown of moral perception in Weekend's characters destroys the continuity and moral progress of the narrative. Godard leaves his characters and story, and so his audience, adrift in a world bursting into flames and rubbish for want of moral individuals to control them. Mickey One expresses the disintegration of individual personality. Penn's post-Wellesian conception of an isolated character becomes quite paranoid...