Word: savoir
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...MIDDLE of Le Gai Savoir (1968) the word "exploration" is offered up for definition. Jean-Pierre Leaud, like Godard's earlier heroes, calls it "the act of exploring a country." But Juilette Berto, rather like the heroine of Two or Three Things I Know About Her, says it means "the act of examining attentively the symptoms of an illness." In Le Gai Savoir Godard also turns from explorations of society to the analysis of ailing images and language...
...Whether the language and images of Communist societies are more scientific is not a question one can ask of this film. Le Gai Savoir devotes itself to the only language Godard knows- that of his experience under capitalism. Indeed, he is so preoccupied with the existing conditions of capitalist societies that it is impossible to imagine him working in a post-revolutionary situation: what would his films be about...
...Savoir, the Dziga Vertov group show that, in both content and form, they have become the revolution: they draw from Wittgenstein, the Whorfian hypothesis, and Rousseau to begin unlearning the current culture at its roots. The collective attempt to show you the way both the language of words and the language of cinema have shaped us and what must be cha(lle)nged. The authority of See You at Mao stems from an accurate application of Marxian rhetoric to contemporary image, from an unpretentious sound-image montage, and from the use of the camera as Vertov's "Kine-Eye" which...
Raunchy Liturgy. For years, Godard's films have been essentially free-association essays. Recently he has become less interested in culture than in politics. Films like Le Gai Savoir, for example, are basically director's monologues, with actors as mouthpieces and the audience made mute witness to sometimes incoherent polemics. Sympathy for the Devil is a kind of transitional work, an attempt, albeit unsuccessful, to blend aesthetics and revolutionary politics. Unfortunately, Godard's symbolism is shopworn. The automobile graveyard as a symbol of Decadent Culture is as much a cliche of the New Cinema as riding...
There is little doubt that in the matter of Harvard's $1 billion endowment. Bennett knows more about investment and proxies than any student in the college. With appropriate savoir faire, he pulled out figures on General Motor's research and social awareness that sound convincing at first. But beneath Bennett's confidence that his decision to vote Harvard's 287,000-share proxy with the management next May is the right one, there are a few clanks in the ringing rhetoric...