Word: realistes
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Dates: during 1970-1979
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LIKE all Irish politicians, John Lynch has to contend with the ghosts of the past. Unlike many Irish politicians, he neither invokes nor exploits them. "I am not affected by any past bitternesses," he says. At 54, Lynch is a realist whose election five years ago marked the end of the era of charismatic strongmen with revolutionary pasts-William Cosgrave, Eamon de Valera, Sean Lemass. Born the year after the 1916 Easter Rising, he is the Irish Republic's first Prime Minister, or Taoiseach (pronounced Tea-shock), of the post-civil-war generation...
...Senators (most of them Midwestern Republicans) sought unavailingly to defeat such undertakings as the Truman Doctrine, the Marshall Plan and NATO. But for all practical purposes, the doctrine died with the Japanese attack on Pearl Harbor. Senator Arthur Vandenberg wrote in his diary: "That day ended isolationism for any realist." The postwar efforts to keep the flame alive were merely, as Arthur Schlesinger Jr. put it, "the last convulsive outbreak of an old nostalgia...
ABOUT the only "weaknesses of the human eye" that filmmakers have altered in the last 50 years are those they've corrected with technology-sophisticated lenses, filters, and film stock. Nobody (at all) has made any farther inroads against the realist cine-spectacle, since Vertov, on the level of challenging cinematic Illusions of illusions, mystifying reproductions of the already mystified surfaces of "reality," (Godard has only recently begun to struggle on this front.) Slickness aside, the film industry still continues to bring us the same instant replays of real or imagined events, somehow oblivious to all the movements against literal...
...Life (shot off TV via video tape and transferred to film), represents the Nixon-Paramount form of exploitation within Available Light. Speaking to the point of images questioned, Anthony Quian (Gauguin!) answers Kirk Douglas (Van Gogh), "I paint it flat, 'cause I see it that way," the Hollywood realist-humanist rationale for manipulation. For the more conscious elements of image-makers, the rationale is of course more problematic. "I don't know how to see you," Tom says to Amy, manipulating...
...Images: Solanas develops social contradictions by means fundamentally different from those of the other major theorists of the militant cinema, Jean-Luc Godard, who phrases this problem as the necessity to build simple, anti-realist images in order to build a purely dialectical and coherent political analysis. La Hora de los Hornos builds its dialectic in the editing of "found" images, pre-existing appearances (documentary footage, his own and that of others, also stills, paintings, commercials, etc.) that expose contradiction by their relation to each other...