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 […]
05. 1968 – France and its Aftermath
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 […]
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 […]
Silverman, K. “Speaking about Godard,” re the void
Emile suggests that what Gay Knowledge has finally made possible is not an objective knowledge of “the workers,” or “the […]
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?” […]
Springer, Brian.”Spin”
A look behind the scenes of how news programs are created. Excerpts from Brian Springer’s movie “Spin.”
Wollen, P. “Godard and COunter-Cinema,” re fiction
In the post-68 films, there seems to have been a kind of flattening out, so that fiction=acting=lying-=deception=representation=illusion=mystification=ideology. 506
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 […]
Wollen, Peter. “Godard and Counter Cinema,”
Some notes about the mean features of this counter-cinema… Narrative transivity Narrativev intransivity Identification Estrangement Transparency Foregrounding Single diegesis Multiple […]
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 […]