Word: savoir
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...doesn't look like a politician. Tall, lanky, slightly balding, with deeply lined features, McGovern hardly exudes glamour. Unaggressive and mild, he lacks the driving athletic power of a Lindsay, the magnetic, sophisticated political savoir-faire of a Kennedy and the intellectual passion of a McCarthy...
...supposed to have the necessary endurance but was unlucky in his post position. Speedy Crown had already won eight of ten races this year -including two wins over Hoot Speed-but he had been beaten by his half-brother in their last meeting. Their most likely challengers were Savoir, the only gelding in the field and a strong stretch threat, and Quick Pride, who had won the Yonkers Futurity. As it turned out, the race was a surprisingly easy affair for the bay colt Speedy Crown. In two straight heats, one of them the second fastest in Hambletonian history (time...
...from them-we are accustomed to such images. But the sign system by which we read these images is an ideology of the class in power. Whenever a conscious formal design does not structure our reading of an image, we have fallen into "the ideology of real life" ( Gai Savoir ), i.e., the implicit ideology in the bourgeois way of seeing. The first step for the revolutionary moviemaker is, as Juliet Berto says in Savoir, "to dissolve sounds and images." "The ear is the eye's politburo...
...heroes, keeps him from a direct (and therefore false, because unexamined) participation in "reality." He does what he can- he refines images and sounds as means of analyzing and coming to know reality, the way a philosopher might refine his 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...
...become the scientific tool of analysis Godard needs so he can reach sure knowledge of the real. His desperation for experiences of the real will not let him accept delays; but on the other hand his rationalism will not let him follow a shoddy line of analysis. Le Gai Savoir, far from being a crude propaganda film, absolutely refuses to move beyond the separate and minimal truths about film that it reveals. This refusal kept him from adopting a "correct" line before 1969; since then it has made him constantly redefine his Maoism...