Word: godard
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...Persona arrived in 1967, Godard was first wavering in his arrogant use of collage, and the Cinema Novo movement, meant to create new expressions for emerging cultures, was largely unknown. Bergman started questioning a career based on the expression of personal psychological torments. His previous themes were tied to a consideration of man as an individual, his damning separateness. Bergman new asked: Does aesthetic tradition justify a director who uses the screen to produce a dream world and imposes his will on actors and audiences? Or does the director merely create barriers between the audience and screen characters...
...expression, so that they could be totally conscious of their work's effect, and the screen could be "demystified." These who could not afford Bergman's moral imperatives moved to a political analysis of film's purpose as a commodity. The combination of ideological certainty with artistic virtuosity that Godard has inspired in many filmmakers, has produced considerable tension: young Bernardo Bertolucci, director of The Conformist , underwent psychiatric treatment because of his split with his mentor: his new film deals entirely with the bourgeoisie, and on their own terms...
...last 50 years are those they've corrected with technology-sophisticated lenses, filters, and film stock. Nobody (at all) has made any farther inroads against the realist cine-spectacle, since Vertov, on the level of challenging cinematic Illusions of illusions, mystifying reproductions of the already mystified surfaces of "reality," (Godard has only recently begun to struggle on this front.) Slickness aside, the film industry still continues to bring us the same instant replays of real or imagined events, somehow oblivious to all the movements against literal representation that have already occurred in other art forms. Worse still than this aesthetic...
...distribution (Columbia) ever in mind-the production won an Academy Award last week for the Best Foreign ( sic ) Film of 1971. Which is a pretty good tip-off that no matter how "controversial" its politics, this pictures poses no political threat to anybody's system. Jean-Luc Godard recently said: "If movie makers were building airplanes, there would be an accident every time one took off. But in the movies, these accidents are called Oscars." Instead of meditating/postulating/lauding on the Artist's manifold intentions, et cetera, since his rudimentary competence is now established, perhaps we should ask the larger question...
...Godard maintains, the immediate image is merely "the reality of the reflection," an ambiguous appearance that could have been caused by anything (including the camera), that leads to no clearer understanding of "reality" because it neglects answering the question "why?" So what about La Hora de los Hornos? How do its documentary images treat the question of causality and discredit surface verities...