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Word: godards (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...Enfant Sauvage is entirely narrative cinema, Where Godard's events reflect on their own significance in terms of film, Truffaut's effect on their significance in terms of human actions. The subject of L'Enfant Sauvage is the essential subject of all narrative films: human actions and what they mean...

Author: By Mike Prokosch, | Title: Film The Wild Child | 10/27/1970 | See Source »

...MIDDLE of Le Gai Savoir (1968) the word "exploration" is offered up for definition. Jean-Pierre Leaud, like Godard's earlier heroes, calls it "the act of exploring a country." But Juilette Berto, rather like the heroine of Two or Three Things I Know About Her, says it means "the act of examining attentively the symptoms of an illness." In Le Gai Savoir Godard also turns from explorations of society to the analysis of ailing images and language...

Author: By Mike Prokosch, | Title: Godard's 'Le Gai Savoir' | 10/27/1970 | See Source »

...automobile accident) been writing after the advent of the L.A. freeway system and Ralph Williams used-car lots, one suspects that Tod Hackett's apocalyptic vision in Day of the Locust would have been a mammoth car pile-up rather than "The Burning of Los Angeles." (Instead, Godard has provided us with the end-of-the-world traffic jam in his 1968 Weekend...

Author: By Frank Rich, | Title: The Apocalypse Waiting for That Car Crash In the Sky | 10/8/1970 | See Source »

Unfortunately, it has become difficult to accept films about fictional characters and their emotions. The integrity of conventional narratives, practically ruined by the likes of Mike Nichols, has been shaken theoretically by Godard and several others. Can dramatic feature films accomplish anything valid? We can't answer definitely until we've thought out the problem on the theoretical level where it's been posed...

Author: By Mike Prokosch, | Title: Film Ugetsu Mongatari at Emerson 105, 7 and 9:30 tonight | 10/7/1970 | See Source »

...particularly offensive scene occurs toward the close of the movie. The New York Cinetracts Collective (comprised mainly of a group from N. Y. U.) has completed the job of making the documentary, and it has assembled in a Washington, D. C. hotel room to discuss ( a la Godard and a la God knows who else) the ethics of having made a movie instead of responding to the crisis with political action. As they speak, and as the film's audience squirms in unbearable embarrassment, the moviemakers proceed to be mind-bogglingly male chauvinistic, grossly misguided about aesthetics, and ultimately personally...

Author: By Martin H. Kaplan, | Title: The New York Film Festival Twelve Nights in a Dark Room: You Can't Always Get What You Want | 9/29/1970 | See Source »

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