Word: maoists
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Dates: during 1960-1969
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WEEKEND. Some wordy Maoist political harangue is the major flaw in this satire of contemporary bourgeois society by Jean-Luc Godard...
...explains the deification of Mao, and even more than Mao, Mao's Thought. Mao's Thought must be the sole (thus unchallenged) basis for the order which survives him. The hysterical attack on all tradition is an attempt to clear the field for the rise of a new cleansed Maoist order, and youth is the bearer of the new tradition because it symbolizes the vitality of rebirth. One of the most stirring passages of the book is a paraphrased second hand account of the first Red Guard rally in Peking in August...
...thus set for the meeting of the Central Committee, at which Mao and his No. 2 man, Vice Chair-man Lin Piao, were reported to have made important speeches. The most immediate problem, according to the committee communique, is the job of "party consolidation and party building." The faithful Maoist press warned that this vital task cannot be left only to present party members-who might simply revert to the policies of Liu Shao-chi. Instead, new party members must come from the outside, primarily from "advanced elements among the industrial workers," while only tried and true Maoists among...
Foremost in the Maoist junior league are the two daughters of Mao's wife Chiang Ching, the most strident voice in the Great Proletarian Cultural Revolution. Hsiao Li, in her late 20s, gained prominence a year ago when she led a Red Guard "investigation team" at Peking University. In the acid-tongued tradition of her mother, Hsiao Li described her alma mater as a "stale pond in which many wang-pa* grow." She is now chief of the editorial committee of the Liberation Army Daily, and the regime has confirmed her importance by listing her among "leading comrades...
...grand old pro are not enough to support yet another tremulous version of the girl-in-a-woman's-body theme. Director Robert Enrico tries to lend his slender scenario some contemporary relevance by forcibly inserting a variety of fashionable camera techniques and casting a Negro Maoist. Though his color photography begins effectively-notably in Zita's terror-glazed recollections of the Spanish Civil War-it ends by stifling the film in a glut of self-consciousness. Annie's seduction scene, for example, is absurdly overplayed in slow motion. Such sequences may look poetic in the cutting...