Word: godards
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Dates: during 1970-1979
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...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...
...Sounds: As both branches of the militant cinema agree, images do not speak for themselves. Sounds-which Godard has called "the oppressed track" in the cinema of Nixon Paramount-serve as a force of equal importance as images in dialectical analysis, through linking facts and context. Except in a few direct interviews Solanas maintains a tension between images and sounds such that comprehension develops along parallel and contradictory lines of struggling ideas. The gestaltist impulse to force correspondences produces irony and consequently a sense of the film's materialist superstructure...
...Against the Ideology of Real Life: Godard attacks the problem of our potential acceptance of reactionary propaganda by questioning the ontology of each individual image in order to reveal the hidden ideology of every element-lurking bourgeois assumptions that give aid and comfort to the maintainers of the ruling order. In other words he exercises dialectically all unexamined values from his cinematic vocabulary. "Realistic" cinema becomes his most formidable enemy: metaphysical defender of "the ideology of real life." universalist, humanist justifier of the present politico-economic system, mystifier of the historical alternatives open to the oppressed. So when he presents...
...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...