Word: godards
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Women in Love. A Ken Russel extravaganza. The taste of movie lovers generally can be calculated along an axis: those who like Women in Love intersects the line of those who don't. Those who like it usually don't like Godard, Resnais, exponents of the New Sensibility; they prefer Elvira Madigan to The Emigrants, Tolstoy to Proust, Flaubert to Gide. They choose oreos over hydrox, Pepsi over Coke, The Beatles over Traffic, Ritz over Saltines, Lily Pulitzer over Design Research, Cliffie peaches over Cliffie limes, and so on and so forth. Allston Cinema...
Women in Love. A Ken Russel extravaganza. The taste of movie lovers generally can be calculated along an axis: those who like Women in Love intersects the line of those who don't. Those who like it usually don't like Godard, Resnais, exponents of the New Sensibility; they prefer Elvira Madigan to The Emigrants, Tolstoy to Proust, Flaubert to Gide. They choose oreos over hydrox, Pepsi over Coke, The Beatles over Traffic, Ritz over Saltines, Lily Pulitzer over Design Research, Cliffie peaches over Cliffie limes, and so on and so forth. Allston Cinema...
...eager to learn from the journalist's trade. As the recent popularity of documentary film indicates, movies are developing a sense for the news, and at the same time confirming a sense of themselves. Unlike Mailer and Wolfe, who for all their talent have contributed nothing to the novel, Godard and Ophuls, albeit in drastically different ways, have put celluloid to the uses of newsprint and have made movies the richer...
Because it focuses on perspectives as much as on facts, it documents without escaping into documental neutrality. In this respect, Chase and film makers like him, may have more to offer than even the great Ophuls or the clever Godard...
...sixties' avant-garde lies gasping on the beach. That is in its way unfortunate, but at least one encouraging development has grown out of the demise. There are now stirrings of a new political consciousness in the resolutely political avant-garde of the last ten years. So Jean-Luc Godard renounces the bourgeois art that won his reputation, and in the current issue of Partisan Review Sontag has an article on feminism that is more passionate and convincing than any of the novels she's written or films she's made. Change in artistic form is understood as necessary...