Word: godard
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This is definitely a cinema of ideas, the clearest such cinema there's ever been, greatly superior in comprehensibility to anything Godard's ever done; indeed, it solves all the problems Godard's been worrying about recently. It's self-critical cinema which assumes the reality of nothing except the event actually taking place on the screen. It's popular cinema that works, yet is rigorously intellectual; it incorporates fiction and polemic without falling prey to either, instead placing its reality exactly in the balance between...
...exploited, so much the better. . . I am simply leading up in all of this to the spectacle of Bo Widerberg, whose ultimately romantic style descends directly from the painting of Pierre Auguste Renoir, ruling-class lackey and who exists as a radical filmmaker, quite apart from Jean-Lue Godard...
...printing plant once each fortnight. There they seize and confiscate every issue of La Cause they can find. But the sly old iconoclast long ago found a secret printing press to publish about 5,000 copies. On publication day, Sartre and a few friends (including Film Directors Jean-Luc Godard and Louis Malle, and his longtime companion, Simone de Beauvoir) pick up the papers, transport them to a side street near St.-Germain-des-Prés, and begin to peddle them. Then the police arrest everyone giving away, selling or reading the paper. Everyone, that is, except prominent people...
...shows us a green field, and the narrator screams, "Red! Red! Red!" Earlier, a four-minute shot of a nineteenth-century couple obscured by tall grass is described in eight different periods, and peopled by eight different historical figures. These are not empty exercises. They are instead statements of Godard's belief that any image can denote virtually anything; and more importantly, that our inability to recognize this fact of perceptual life is testament to an imaginative enshacklement attendant upon an economic...
...aesthetics too ashamed to show its face in discussions of the novel has long held sway in theories of the cinema. Writers like Kracauer and Bazin have elaborated value systems whose central equation comes whole from the nineteenth-century bourgeois novel tradition. Godard fights alone the arts' last battle against realistic representation...