Word: godards
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Dates: during 1970-1979
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...Images: Solanas develops social contradictions by means fundamentally different from those of the other major theorists of the militant cinema, Jean-Luc Godard, who phrases this problem as the necessity to build simple, anti-realist images in order to build a purely dialectical and coherent political analysis. La Hora de los Hornos builds its dialectic in the editing of "found" images, pre-existing appearances (documentary footage, his own and that of others, also stills, paintings, commercials, etc.) that expose contradiction by their relation to each other...
...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...
...culturally)? Do they eliminate "outmoded consciousness" and clarify "changing social relations" rooted in material conditions? Or do they merely reflect changing intellectual consciousness operating in isolation from social relations altogether? These are important questions for the Cultural Revolution to consider, which I won't try to answer now for Godard and Robbe-Grillet, Instead, I want to talk about Susan Sontag, who unites certain elements of the two, and examine her answers apparent in Duet for Cannibals...
Susan Sontag combines many of the principles of Godard and Robbe-Grillet, and circumvents their problems of alienating the audience with new forms by using old forms subversively in order to destroy our acceptance of them. The film is dialectical in the sense that it starts speaking to us where we are right now, in our present state of outmoded emotional and intellectual consciousness (and not in some futuristic state when we may actually be interested in Robbe-Grillet's descriptions of objects), in order to take us in, to wreck that corrupt humanist tranquillity in which we once thought...
...life, though ordinary enough, seems to haunt me-in uncommon ways. It seems to come to me-from somewhere else. Someone. And I've been trying to understand it; but it seems that I can't get it. So: the noted French wit Jean-Luc Godard said: "What is film? Film is Truth-twenty-four-times-a-second." So I thought that if I put it all down on film, and I put my thumb on it and I run it back and forth ... And I stop it when I want to, then I got everything...