Word: godards
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Dates: during 1970-1979
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...Binh is the first feature film to be directed by the superb French cinematographer Raoul Coutard, 47, who has photographed much of the work of Godard and Truffaut. Made entirely in Viet Nam during 1969, the movie is full of scenes of severe beauty: gas-masked soldiers outlined against a metallic sky, actors in elaborate Oriental costume running from a bombed theater, whole rows of huts bursting suddenly into flame...
Skolimowski fills his backgrounds with imagery (a painter covering a wall in red, a man in the swimming pool rolling over and over in a kayak) that is both disorienting and quite funny. Mike is clearly descended from the manic protagonists embodied by Jean-Pierre Leaud in Godard's films and in Skolimowski's Le Départ. They all suffer their youth as if it were a wound...
...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...
...REVOLUTION isn't coming soon," says Dr. Arthur Bauer, Marxist-intellectual-in-exile of Susan Sontag's Duet for Cannibals . If this is so, the role of the alienated cultural vanguard-both necessary and sufficient-must lie in assaulting the ruling culture, in destroying the primacy of bourgeois humanism. Godard has undertaken this task politically by creating dialectical confrontations with the mystified, "larger than life" Hollywood image. He launches a direct, ideological attack, using the cinema as a two-dimensional "blackboard" to counter the "in-depth," "universal" presentation of classless "Man" in bourgeois films. The technological advent of sophisticated, depth...