Tag Archives: 05. 1968 – France and its Aftermath

05. 1968 – France and its Aftermath

The film and writing by Jean-Luc Godard, and others, concerning the events occurring in Paris (and around the world) during and after 1968 provide an example of a Marxist inspired revolution in a first world context. “The spirit of the May days was utopian, expressive and festive,” writes Sherry Terkle. “The ideology of the celebrants […]

filmstudiesforfree (on godard)

filmstudiesforfree for-ever-godard Film Studies For Free actively espouses the ethos of Open Access to digital scholarly material. It aims to promote good quality, online, film and moving-image studies resources by commenting on them, and by linking to them. My recommendation today, another addition to Film Studies For Free’s listing of scholarly resources in audio or […]

Las Paras, “mao mao,” (Godard, JL. “La Chinoise”), 2007

song from godard’s la chinoise translated in english: Vietnam burns and me I spurn Mao Mao Johnson giggles and me I wiggle Mao Mao Napalm runs and me I gun Mao Mao Cities die and me I cry Mao Mao Whores cry and me I sigh Mao Mao The rice is mad and me a […]

Wollen, Peter. “Godard and Counter Cinema.” re audience thinking

“Godard’s cinema, broadly speaking, is within the modern tradition established by Brecht and Artaud, in their different ways, suspicious of the power of the arts- and the cinema, above all- to ‘capture’ its audience without apparently making it think, or changing it.” – Peter Wollen

Wollen, Peter. “G and Counter Cinema: Vent D’Est,” re diagesis

“The text becomes a composite structure […] using different codes and semantic systems. Moreover, these are not simply different, but also often contradictory…The semantic component of a language is composite and contradictory, permitting understand on one level, misunderstanding on another. Godard systematically explores the areas of misunderstanding.” – Wollen, p.503

Godard, J-L. “Kino-Praxis,” re art is a gun.

Art is a gun…THere are different sorts of guns. There is a real gun and another sort of gun. One is science, one is art, one is a novel…Well ideas are guns. A lot of people are dying from ideas and dying for ideas. A gun is a practical idea. and an idea is a […]

Godard, J-L. “Kino-Praxis,” re cine-tracts

I thought the cine-tracts were a really good idea. They started out with things about the police, about the repression, in an attempt to publicise what had been happening. The newspapers had been suppressing alot. To make it more widely known, they simply filmed photographs, for example. I mean they made films but very stylized….You […]

Silverman, K and Farocki, H. . “Speaking about Godard,” re undoing

Gay Knowledge also implicitly distinguishes itself from Marx on a second point. It seeks not merely to rethink man, but to undo him altogether….When, as a result of the combined activities of lingustics, anthropology, and psychoanalysis, we are able to grasp the linguistic bases of human subjectivity, man will be “erased,” like ” a face […]

Silverman, K. “Speaking about Godard,” re truth

Patricia proposes a radically new reading of the categories of truth and falsehood. She asks, “what is a false image?” and answers, “there, where the imave and sound [seem] true.” She thereby suggests that an image or sound is false not when it misrepresents reality, but when it seems adequate to reality–when we are able […]

Silverman, K. “Speaking about Godard,” re degree zero

The zero point now has a radically new meaning: it signifies not a site of epistemological stability, a place where we can be sure that we are no longer in any way deluded, but the nullity disclosed through the unthinking of the thinker. Kaja Silverman, ” I Speak Therefore I’m not,” 135