Word: leaud
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...Savoir works best in cases like this, where a certain mode of presentation suggests the way to analyze that mode. A more suggestive example occurs when Leaud and Berto decide to interview a Frenchman of the year 2000 by satellite; Godard cuts to a small red-haired boy dressed in red against a blue background. They feed him single words and he responds: "Aristotle"/"Red," "Circle"/"Lion." As in One Plus One's interview with Eve Democracy, we immediately begin weighing his responses for their political significance ("Revolution"/"October," "Stalin"/"Airplane.") Then, however, the problems implicit in this mode...
Those sequences which employ metaphor also have limited success, for their meaning comes less from their formal mode than from a semi-representational correspondence to real events. One sequence finds Berto singing scales on "oh." Leaud, standing directly behind her, begins to strangle her and say "ah"; she falters, begins brokenly saying "ah," and with Leaud's approval ends singing scales on "ah." Because the sequence represents something far more awful than the action it presents, it cannot avoid a note of falseness. It is not at all suggestive formally because the meaning to which it refers bears no relation...
MISTODIMAN . . . a mixture of "method" and "sentiment" . . . It's a word I made up to describe images and sounds. -Leaud...
...terms or a physicist his instruments. Le Gai Savoir, as of 1968 Godard's furthest attempt, is consequently cut off from reality. There's no more going into people's homes with questions, no direct action or activism, no direct contact with reality for the characters. The images Leaud and Berto see are all second-hand; still photographs with handwriting predominate...
...formal analysis of cinema tells him that such direct embodiment is impossible, and he acknowledges this twice. First, and more gently, come the three successive times when Leaud tells Berto: "If you want to see the world, close your eyes, Rosemunde." Godard cuts to shots of Parisians on the sidewalk: within a film, seeing the real can only be an act of imagination, that is of closing your eyes. Second, at the end of the film Berto declares: "This [the film] was not and never will be, because this IS." It never has actually existed and never will...