Word: kjell
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Dates: during 1970-1979
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...ADALEN 31 becomes a commentary on the class nature of its own images, on the political repression of signs and symbols with vertical, class implications for the benefit of pure representation, appropriation, fetishism of objects. Kjell learns about the pleasures of pure aesthetics from the liberal, cultured wife of the factory owner. The joyous pronunciation of "Pierre Auguste Renoir" becomes a sign for irresponsible privilege and political obliviousness in a sequence intercut with familiar images of Kjell's mother doing washing for the rich. Widerbeg demonstrates the duplicity of his own horizontal aestheticism in a context of social inequalities...
WIDERBERG leaves us with Kjell's resolve, "We must acquire knowledge. To get power we must have knowledge." We are given no false solutions, no catharsis, but are left to sort out the contradictions, surfaces and symbols of everyday, material life, truth and lies. Twenty-four times a second, a million times a day: truth and lies. The cinema must help...