Word: godard
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...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...
Meyer has not been treated as extensively by critics as say, Godard or Hitchcock have, but recently Vincent Canby decided to spend a few inches on him. Now I'm still so dumb about the cinema that I don't know whether I should say "movie" or "film" or "picture." but I know when I've caught Canby with his foot in his mouth. Meyer would be all right, Canby said, if only he could get his mind off sex. Hah. What makes Meyer so great is that he can think of nothing else...
...director's failure to direct can be turned into a positive advatage. Godard, for example, gives his actors very little idea of what they are supposed to do, and yet his actors are known to prefer their roles in his films more than others. But to make non-directing an asset is extremely difficult. It demands not only a strong intuitive sense of the potentials of the actors, but also a clear abstract idea of what is wanted from them. Many established directors-Godard, Bunuel, Bresson-feel at a disadvantage using name actors, since they tend to have preconceived ideas...
Sontag's brilliant book contains essays on Bergman and Godard, the pornographic imagination, the relation of theatre and film, the state of the nation, and E. M. Cioran, a modern aphoristic French philosopher. Two of the essays, the avant-garde "Aesthetics of Silence" and "Trip to Hanoi," rank among the most important intellectual documents of the sixties...