tag:blogger.com,1999:blog-60564686130324476192024-03-14T10:25:54.076-07:00GODARD MONTAGEJLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.comBlogger158125tag:blogger.com,1999:blog-6056468613032447619.post-46398837228989750152011-12-21T23:38:00.000-08:002011-12-21T23:38:42.898-08:00Making cinema politically not political cinema, Godard<blockquote class="tr_bq" style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">Politics involves both past and present. When you read Churchill's memoirs, you understand very clearly what is happening today. You think, so that is what he was thinking when he took part in such and such conference; but you only learn this twenty years later. It is more difficult in cinema: you have no time since you are dealing with the present. (Godard on Godard, p.225)</span></blockquote>
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<span style="font-size: small;">Godard has a particular approach to the way he does cinema and thinking about film the way he constructs it as a political construction is a version that rethinks the way we can talk about politics and society with different perspective. His recurrent questioning becomes the content and the form of his films. </span>In his interview with Cashier (Godard on Godard, p.215-234) about the film <i>Pierrot le fou </i>he gives a description of how the questioning the things in between events (history) and daily life that lead to one another. Within this construction Godard explains that he the Vietnam references are linked to "the world of violence, and it is violence that controls the way things evolve [...] my reference to Vietnam was pure logic: it was to show Belmondo that they were playing a game, but that nevertheless the matter of their game pre-existed. </div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I repeat making a film is an adventure comparable to that of an army advancing through a country and living off the inhabitants. So one is led to talk about those inhabitants. That is what actuality is: it is both what one calls actuality in the cinematographic and journalistic sense, and casual encounters, what one reads, conversations, the business of living in other words. (Godard on Godard, p. 224)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">This is basically what Godard means when he says he makes films politically and not political cinema. Although some critics might catalog his inclusion of political themes in his films as a superficial approximation of the subject. Godard's films are essays on a subject and take form in a film that draws from the construction of characters, to the use of citation and text, and the inclusion of actuality in his films in relation to the story and the subjects. </span><span style="font-family: Arial,Helvetica,sans-serif;">Everything that lies between the event and daily life. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">By Natalia Guerrero </span>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-77643431008394378822011-12-21T21:41:00.000-08:002011-12-21T22:25:57.870-08:00Silence, the space between Éloge de l'amour - Jean-Luc Godard<div style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: small;">When composer John Cage came up with his piece 4'33'', perceive as four minutes thirty-three seconds of silence, he was actually proposing that any sound could become music. This piece is performed in 3 movements, or sections. For the first version the audience, in front of a stage, saw the a performer reach and sit in front of the piano, open the lid and then close it to mark the end of the duration of that segment. He repeated it 2 more times. The audience sat in "silence" listening to the noises surrounding them. It was controversial to the preconceived notion of music. However, Cage when trying to explain his experiment he reflected on the duration as the essential building block of all music, where duration is the only element
shared by both silence and sound. Therefore, why not fill this with either sounds, silence or noise? The third point is that the work of music is defined not only by its
content but also by the behavior it elicits from the audience, they can either be satisfied or contribute to the piece. Basically there is not such thing as silence.</span></div>
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<span style="font-size: small;">In Éloge de l'amour by Jean-Luc Godard there is a recursive use of a black screen, absence of image or a sum of images that yield too much light or exposure (over exposed images). This silence in between images play a similar role as John Cages experiment. This a sequences of moving images that begin with a non visual image and lead to another image, that leads to a non-visual image, in repeat. The relation to the timing in music and the timing in cinema can be related in similar terms as John Cage did when talking about silence and the new forms of authorship when it comes to composing an art piece. </span></div>
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<span style="font-size: small;">Humberto Eco, in The Poetics of the Open Work, talks about the open-ended and aleatory nature of modern music, literature and art "pointing to the wider implications of this new mode of aesthetic reception for sociology and pedagogy, and for new forms of communication."(p.20) When talking about open text in writing, like in music, Eco explains that "blank space surrounding a word, typographical adjustments, and spatial composition in the page setting of a poetic text- all contribute a halo of indefiniteness and to make the text pregnant with infinite possibilities." (p.27) This opens to the free response of the one who reads it. </span></div>
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<span style="font-size: small;">This is why Éloge de l'amour is one of my favorite Godard movies, when it comes to talk about the construction of memory its infinite relation to images that evoke other images. In this case the use of a non-visual image (black screen) becomes one of the sources for this being an continuous open text on the understanding of memory. The timing of non-image in between images is a silence open for the emotional and imaginative process the spectator indulges in while adapt our personal world into this images, either by association or by superimposition or juxtaposition; "a network of limitless interrelations". (p.24) Many of the images in this film are stripped from the referent, and the text (voice over) becomes part of the image, but at the same time the spectator sees himself confronted with a narration (that is a continuous questioning on memory process and thought) place over an image of nothingness, of images that are just images in movement through a space, the portrait of a fleeting space or landscape. A Time and Space that is not definite neither by the story nor by the narration, so it becomes the image of something we don't know but that we get to know by relating it to something already known. </span><style>
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<span style="font-size: small;">Where the initial referent of the image can become another image, a
continuous process of reconstructing memory, a reconstruction that takes place in that silence, in that black screen with the sound atmosphere of the previous image, that leads to a new image. </span></div>
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<span style="font-size: small;">The entire movie is perfectly timed withing this spaces blank spaces, the spaces of images of nothing, and spaces of images of the characters of the film within this image. There is a timing or a tempo that is defined also by the division of the film in chapters, a recurrent strategy used by Godard. The spectator, as the film, seem to float in a time and place that is not definite but that is certain that it exists. It is a constant open text and the journey of memory of each spectator is a varied as the possible interpretations or associations of each image. The silence in between is not silence. </span>
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By Natalia GuerreroJLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com3tag:blogger.com,1999:blog-6056468613032447619.post-32522702412046884712011-12-21T19:56:00.000-08:002012-01-02T10:41:19.018-08:00Speak On What It Is You Cannot Put Into Words: Erik Luers Final Paper Topic<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For my final paper, I decided to focus on Godard's poignant voiceover narration in<i> 2 or 3 Things I Know About Her</i> and what it says about language, knowledge, and style. I came to this choice after watching the film again fairly recently, feeling that Godard's internalized monologues to the audience were confessional and sincere. Here was a man wrestling with existential ideas and problems of ontology, admitting that he had so far only been able to grasp a small amount of their entire context.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As a starting-off point, I used David Bordwell's chapter on "Godard and Narration." Originally, I wanted to use Bordwell's theory that Godard's films invite interpretation but defy analysis as my thesis but, after wrestling with it and giving it much thought, I realized that I didn't agree with him. Still, Bordwell makes some good points in the chapter that I felt helped me shape my own argument.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was also amused by the irony of the narration in <i>2 or 3 Things</i>, by the fact that, for a film that breaks down language and questions its everlasting constrictive abilities, it so expertly employs words to describe situations that may very well be deemed indescribable. If "language is the house man lives in,"<i> 2 or 3 Things</i> features Godard coming to terms with and challenging that impenetrable fact. We are bound by words, but we will nonetheless use them to describe our situation thoroughly. Below is an excerpt from my final paper:</span><br />
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i<span style="font-size: small;"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">s an irony at work in Godard's choice to employ his narration over </span></span></span></span><span style="font-size: small;"><span style="text-decoration: none;"><span style="font-weight: normal;"><i>2
or 3 Things</i></span></span></span><span style="font-size: small;"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">,
a film which, quite explicitly, makes a case for the oppressive
ability of language. A key theme in many of his films, Godard uses
the essence of language and its inability to completely describe
thought as a mirroring of the human condition, the boundaries put in
place by one binding the expressive abilities of the other. When,
early in the film, Juliette's son curiously asks his waking mother to
define 'language', Juliette responds quite matter-of-factly,
“language is the house man lives in.” The film backs up this
claim with scenes of her husband's obsession with the transcribing of
political audio soundbytes, and the inclusion of two befuddled men,
seemingly existing in another movie entirely, aroused by a constant
barrage of knowledge through books. Godard appears to be implying
that although language is a necessary and infinite tool, it lacks the
ability to describe the indescribable, to give meaning and
authenticity to the wordless. His films, often filled with what
Bordwell deems “transtextuality”, that is, “citations,
allusions, borrowings” (312), emphasize the narrative's need for an
unobtainable degree of knowledge. By presenting close-ups of book
covers sporting didactic titles, he engulfs the viewer in the
onslaught. Man's greatest insecurity is that he may never learn quite
enough.</span></span></span></span></span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This
idea is particularly true given <span class="Apple-style-span" style="line-height: normal;"><span style="font-size: small;"><span style="text-decoration: none;"><span style="font-weight: normal;"><i>2
or 3 Things'</i></span></span></span></span><span class="Apple-style-span" style="line-height: normal;"><span style="font-size: small;"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
most famously linguistic scene approximately twenty-five minutes into
the film. Sitting in a cafe by herself, relaxing with a glass of
Coca-Cola, Juliette glances at another woman reading a hip 60s
fashion periodical. Godard shows us this woman's enamored face while
providing us with shots </span></span></span></span></span><span class="Apple-style-span" style="line-height: normal;"><span style="font-size: small;"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">of the magazine's colorful pages, each
featuring women in chic attire and cosmetic overstatements (i.e. the
woman with the United Kingdom-inspired lipstick). As Juliette glances
over, Godard's questioning narration kicks in, asking how it is
possible to accurately describe the scene unfolding before our very
eyes. Does the word 'magazine' efficiently describe what it is? How
can descriptive language sum up not only mood, but essence? At the
aforementioned garage scene later in the film, Godard again prompts
us to remain wary of the restricted fundamentals of this man-made
communication system. While we observe Juliette at the garage
greeting her husband lovingly, there is something that occurs between
them, between them and their placement on the Earth, that is beyond
language and conceptualization. Godard's voiceover, comically enough,
realizes its uselessness even as it continues forward; the director
admits that he cannot do much more than relate it to Faulkner. Since
the spelling out of that which is instinctively organic is reckoned
useless, no one therefore bothers to attempt the task. Language
supplies us with the illusion of thought, of the comfort of placing
the enormity of the universe into a few common phrases. By doing so,
it teaches us less about the world and rather more about man's
never-quite-complete definition of it. </span></span></span></span></span>
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<i><b><span style="font-size: small;"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-family: Arial, Helvetica, sans-serif; font-weight: normal;">Erik Luers</span></span></span></span></b></i></div>
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<span style="font-size: small;"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;"> </span></span></span></span></div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com1tag:blogger.com,1999:blog-6056468613032447619.post-26982423631421196432011-12-21T18:34:00.000-08:002011-12-21T23:41:21.469-08:00Jean-Luc Godard’s cinematic construction of History and Memory<div style="font-family: Arial,Helvetica,sans-serif;">
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</style><span style="font-size: small;">There is a common denominator in Godard’s films, the construction of
history and memory. Themes of memory and time, how to record history, using
archives of images to tell a story, history as storytelling in an attempt to
arrange certain memories, the diffused boundaries between fiction and
non-fiction (documentary and fiction, the real and the imagined), cinema as
archive of time and memory, the image as archives of images of time; the
conception of cinema as both history and memory, a way of remembering the past
but also the present. This is a search to understand the cinematic construction
of history and memory in Godard’s films <i>Notre
Musique</i> and <i>Tout Va Bien</i>. </span></div>
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<span style="font-size: small;">The first one ending with the reflection of being your own historian and
how that movie is a record of history for those who don’t keep one; the second
movie is a continuous use of images, sound, music, quotations to evoke a
reality that is not there anymore and its reconstruction through the use of
images and thoughts evoked by a landscape, an image of something that evokes
something else.</span></div>
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<span style="font-size: 12pt;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Specifically for this post I would like to focus on the construction of space, used as a tool for narration, in both films. In </span><i style="font-family: Arial,Helvetica,sans-serif;">Tout Va Bien</i> there is a Brechtian approach to history and the uprising events going in on in France in 1968.</span> </span></div>
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<span style="font-size: small;">In <i>Notre Musique</i>, Sarajevo becomes the stage, in this case a landscape. A landscape of memory and history in an attempt of being reconstructed, curiously done by an Israeli journalist, Judith Lerner</span><span style="font-size: small;"> (as in Tout Va Bien by Yves Montand</span><span style="font-size: small;">) in many ways becomes a documentary portrait of this city that is being rebuilt after war through the questioning of other wars like the Israel and Palestine conflict. The camera becomes a silent witness of this portrait in the documentary scenes where we constantly see the daily life of Sarajevo through its streets and the visiting of the landscapes used for remembering the lost lives, (the markets, the streets with cars and pedestrians, the constant focus on the women and children on the street, the public transportation like trains are constantly making a pause on the film, a transition between documentary and fiction, between the true life characters like Godard and the poet playing themselves and the fictional characters like the journalist and the french young woman Olga).</span></div>
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<tr style="font-family: Arial,Helvetica,sans-serif;"><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-XdPf5XNrdII/TvKZiAdHHmI/AAAAAAAAAsg/rUXycsoYycM/s1600/photo%25288%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-XdPf5XNrdII/TvKZiAdHHmI/AAAAAAAAAsg/rUXycsoYycM/s1600/photo%25288%2529.JPG" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;">A Bosnian women with her child. This sequence was followed by a sound mix of falling bombs.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">The journalist visits a memorial landscape, where the stones represent
the dead from August 1990-June 1997. The translator explains that each
stone is attached to a card and this card to a face and the information
of the position the body was found. </span></td></tr>
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<span style="font-size: small;">The interesting use of documenting a landscape within the narration of the story in this film leads to the use of landscape as a stage, also like in Tout Va Bien, but this time it is a physical space that exists and its intervened with objects, books (piles of books brought by different people) and characters that interact with them by siting texts in reference to war, land, the dead, wars in the name of colonization, and the need for poets and writers so time can survive. There is also the landscape of the bridge that is constantly referenced through the narration of the story and the quest of the journalist of a past and present and its relationship to land (the war battles for land). This landscape is a space for imagination. At one point of Notre Musique there is a sequence of the journalist sitting in the middle of the shot by the bridge, when she looks to the right she see 3 Indigenous People in getting out and in a car, when she looks to the left she see them again but this time on horses and wearing the classical Indigenous American outfit, a shot and reverse shot. This sequence followed the visiting of the stones in the pictures above and the reading of a text that reflected on the me and the other, history and memory. The associations personal memory can come into play with contexts that resemble it, two truths that happened in the same time in history. The quest of the journalist as she reads Levinas Entre Nos, Restore the past and make the future possible. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">Poet reads in spanish: Hay que hacer que la revolución cree una interminable fuerza de creación que fortalezca los recuerdos, que precise los sueños, que corporice las imagenes. That reserves for the dead a better fate.</span> </td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Deleuze wrote on Godard that his film is open and inclusive. He always used the word AND. In this case his films would be and attempt of History and Memory. A place for questioning, for dream and reality, for interior and exterior. History is the search within the memory of others and our own. Notre Musique is a shot and reverse shot of History and Memory, of me and the other, of the individual and society, living and death. Both Tout Va Bien and Notre Musique become Godards attempt of a historian. Sarajevo is a starting point to reconcile with the past by starting a conversation about the land a common land, a common landscape where you can then find forgiveness.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">By Natalia Guerrero </span></span><span style="font-family: "Times New Roman";">
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</div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-27302401833965959352011-12-21T17:11:00.000-08:002012-01-03T06:05:49.463-08:00Reclaiming Agency: The Emancipated Spectator in 2 ou 3 choses que je sais d’elle<style>
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My project examines Ranciere’s notion of the "emancipated
spectator" in Jean-Luc Godard’s <i>2 ou 3
choses que je sais d’elle</i>. As a filmmaker, I believe Godard assumes the
role of ignorant schoolmaster, one who does not assume authority of the films
“meaning” but one who is willing to engage in the process of learning with the
spectator. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is clear in Godard’s use of the interview in <i style="mso-bidi-font-style: normal;">2 ou 3</i>. By filming interviews with women
in hair salons and clothing stores, Godard presents what Ranciere refers to
as “a third thing,” that which neither schoolmaster nor ignoramus can posses authoritative
meaning of. Instead both are left
to engage in the process of translation: interpreting the signs in the
interviewees words and body language to ascribe a meaning to the work.
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<span style="font-family: Arial, Helvetica, sans-serif;">I also examine Ranciere argument
against Plato’s, and later Debord’s, critique of mimesis. Since theatre is
traditionally merely a representation of reality, Plato claims this leaves the
spectator in a state of ignorance. Debord likewise argues the appearances in
the spectacle fail to communicate the reality of the spectacle: that there is a
disconnect between appearance and reality. The spectator, lost in a world of
false representation, becomes dispossessed of her selfhood. Godard deals with
the problem of representation in <i>2 ou 3</i>,
however unlike Plato and Debord concludes the society of the spectacle does not
have the power to rob people of their agency. Instead, like Ranciere, he believes
the spectator, in the act of interpreting and translating the world of signs
before her, assigns meaning to these appearances. This suggests the possibility
of a society where the subversion of meaning by consumer culture may be
reversed. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> Mike O'Malley</span>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-20785892462441930842011-12-21T13:30:00.000-08:002012-01-02T12:57:22.762-08:00This is a short excerpt from my paper.<br />
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In the Emancipated Spectator, Jacques Ranciere adapts the premise of Joseph Jacotots Ignorant Schoolmaster and applies it to the practice of art. Ranciere makes the connection between the schoolmaster and the filmmaker stating that both are trying to transmit knowledge to their pupils/audience. But this very relationship rests on premise that the filmmaker/schoolmaster is exulted by his knowledge and only he can reveal the truth to the ignorant spectator. “The ignoramus is not simply one who does not yet know what the schoolmaster knows. She is the one who does not know what she does not know or how to know it, for his part the schoolmaster is not only the one who possesses the knowledge unknown by the ignoramus. He is also is the one who knows how to make it an object of knowledge, at what point and in accordance with what protocol.” (Ranciere 8)<br />
Stultification results from the attempt to objectify knowledge which denies the spectators equality of experience. Ranciere argues that it is not the schoolmaster’s experience and wealth of knowledge that educates the ignorant spectator, rather it is her ability to show that she can learn on her own by, looking and listening, figuring out the meaning of what she has seen and heard, and comparing what she discovers with what she already knew. Is this not also the goal of the filmmaker? The filmmaker shows us scenes in order to provoke us into thinking and engaging with our own understanding of the world. Ranciere refers to this as the “distribution of the sensible”. Rather than position himself as a fountain of experience and knowledge that the spectator should revere, the filmmaker must instead awaken the spectator to engage with her distribution of the sensible. Yet, the modern cinematic apparatus rests on the process of stultification that cuts off the spectator from her emancipation. <br />
Brecht’s development of the epic theater in the 1930’s was an attempt to challenge this conventional apparatus. Brecht wanted to challenge the illusory nature of the theatre, one that allows the spectator to comfortably sit in her seat and enjoy a play about poverty as a form of entertainment rather than a form of social engagement.<br />
For Brecht the entertainment value of the theatre cast a veil over the political and social importance of works of art, allowing audiences to disengage from the politics behind them. A work, no matter how revolutionary its potential, can still be assimilated by the system of production that simultaneously delivers the it to the public without allowing space to challenge the injustice of that very system. This realization is reached by Walter Benjamin who was also a close friend of Brecht who said “The bourgeois apparatus of production and publication can assimilate astonishing number of revolutionary themes, and can propagate them without seriously placing its own existence or the existence of the class that possess them into question“ (Benjamin 90). In order to challenge the spectators distribution of the sensible the artist must attack the forms in which art is delivered or risk it merely becoming another cultural object delivered by the commodity system that is hallowed of meaning.<br />
These complaints are echoed a quarter century later in the work of Guy Debord and Godard. Though Godard will go on to fully realize the potential of these questions, Debord will struggle with his position as artist. It is important to note how Debord’s development of Brecht leads him to the creation of his film and book The Society of the Spectacle. In it he expands Brecht’s notion of the illusory theatre to include society as a whole. For Debord art had become a commodity, something to be exchanged as mere artifacts from a culture increasingly separated from the true meaning of life. Instead of seeing art or life, the spectator is caught up in a world of appearances and is unable to see beneath to the true nature of things. Debord argues for the end of production of art objects and the reintegration of art into everyday life.<br />
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While Brecht and Debord offer an alternative view of producing work so that the form itself is also political, through various techniques both seem to miss a critical point. Both are overly concerned with educating their audiences to the injustices of the world as they, the artists, see them. There is an implication that their positions as artists have granted them special knowledge to the state of affairs that are unknowable to the masses. The irony is that in an attempt to liberate the spectator from the stranglehold of the spectacle, these artists have exulted themselves into a special position of knowing.<br />
Perhaps this has less to do with these men and more to do with the very structure of the cinema. The spectator comes to sit and watch. She is told there is a message encoded into the work and if her intellectual credentials are high enough she will understand the intention of the filmmaker. But why should she be so fascinated by the intentions of the filmmaker. Her assumed interest in this illusory authoritative figure is based on the presumption that the meaning of the work is his, and she must discover it with his help. But first she must admit her own ignorance of the world.<br />
This claim of definitive ownership denies the spectator her function as a collaborator of meaning. Her decoding of a work is superfluous compared to the “true” meaning intended by the artist. The intention of the artist becomes an end in itself, one that excludes the participation of the viewer. The concept of this truth exults the experience of the filmmaker as primary and all other experiences as insignificant. How are spectators expected to engage with a work that denies their very knowledge as beings? This is the crisis of modern art. It is a crisis that asks spectators not to be collaborators but consumers.<br />
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Oz SkinnerJLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-68788077839348725362011-12-21T12:38:00.000-08:002011-12-21T12:38:40.885-08:00Prostitution and ModernityAnyone who has seen a few Godard films can notice the recurrence of the prostitute. <br />Especially when it comes to <i>Vivre Sa Vie</i> amd the image of Anna Karina. Aside from the plot context in which woman appear as prositutes in Godard's work, the prostitute can be used as commentary on economics.<br /><br />
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<br />Godard uses the female form and sale of sex as a metaphor for capitalistic ideas, which is certainly present in the film. Morrey points out the implementation of distancification techniques used by Godard, in part by the insertion of tableau, as a way for the spectator to not become too lost in Nana's experience and narrative that they cannot draw connections between there own lives as the consumer. <br />
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<i>2 or 3 Things I know about her</i> seem to take this connection between consumer driven society a step further. He again, uses prostitution as metaphor and commentary, this time to address the upper middle suburbia in Paris. A way to again, show the lengths at which society will strive for the consumption of things in which it does not need. <br />
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The prostitute can also serve as a metaphor for film, at least classical or hollywoodian film, because of the focus on beautiful imagery or beauty itself, which to Godard is the focus on something so fleeting. <br />
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Godard, while critical of both beauty and modernity, does not seem to hide his fascination with the material. Reconciling the allure to a consumer driven society and playing with ways in which it is a destructive force seems to be a large drive in his work. <br />
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<br />JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-18630995864345312262011-12-21T11:08:00.000-08:002011-12-21T11:15:11.718-08:00Godard and Eisenstein For my final paper, I examined ways in which Jean Luc Godard's work can have examples in which it fits into Eisenstein's methods of montage, and ways in which his work deviates from it's linearity. <br />
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To do so, I wanted to pick three works that when placed together for comparison, a progression can be seen in how Godard uses montage. The three I chose were <i>Vivre Sa Vie</i>, Deux ou trois choses que je sais d’elle, and Histoire(s) du cinéma.<br />
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Through the analysis of these films, I have come to the conclusion that Godard's work primarily addresses Overtonal and Intellectual montage when it comes to Eisensteinian methods. Also, while Godard's montage still shows a progression, he is still constantly looking back to his past work as well as the work of other filmmakers. He is also looking back in terms of method. He finds ways to take simple montage and transform it into new ideas. To me, this is unique to Godard. He is always interested in comparing the past with the present as a means to move forward. <br />
<br />
I also felt that Eisenstein's methods of montage only really addressed montage through shots or the camera. But why should that be the case? If we stick with his dialectical argument for cinema without limiting it to the image, there several ways in which in-congruence can be introduced into cinema. For example, Godard's mixture of noise and silence, text and image, fiction and non-fiction, and rehearsal and improvisational. One might be able to conclude that these are all examples of Overtonal Montage. However, they seem to move past Eisenstein and onto a more complex view on what montage is and what it is capable of. <br />
<br />
For Godard, being a former film critic before he began film-making aloud him to look at what other filmmakers have done as way to see what still needs to be explored and what does not. In his later works, I believe he revisits early approaches to montage such that he has done a "full circle" in terms of discovery what filmmaking is to him, and Histoire(s) du cinéma is a way of not just burying the past for good, but learning how to use it to create new or alternate meaning.<br />
<br />
To conclude, I feel that Godard did prove to be an example filmmaker for Eisenstein's "higher pathways" of thinking and montage, but he was not limited by linearity or by any concrete meaning. For Godard, meaning is always something that can be changed though rearrangement. <br />
<br />
Joe VJLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-24938312104504550792011-12-21T02:02:00.000-08:002011-12-21T02:02:51.895-08:00Looking at Death<!--[if !mso]>
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<span style="font-family: "Times New Roman";">Death is an idea
that Godard explores in his work any number of times. With reference to Douglas
Morrey’s book Jean-Luc Godard, I will briefly look at some of the recurrences of
death in Godard’s films, and the significance of his preoccupation with this idea.
<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfRij1V5d-Ff3vRIpFDEJtBqeDKsJ7ISo72NknJ6ERw1j6TuovwOYQ5t3PHo9Ldi3ZXFNO-pdA2gfYR7t1udQbvbVYS2_gafECWMLd2gd5lubgb2QLV4mTN-p2SS2KVzcZhwydUHPntL8/s1600/michel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfRij1V5d-Ff3vRIpFDEJtBqeDKsJ7ISo72NknJ6ERw1j6TuovwOYQ5t3PHo9Ldi3ZXFNO-pdA2gfYR7t1udQbvbVYS2_gafECWMLd2gd5lubgb2QLV4mTN-p2SS2KVzcZhwydUHPntL8/s320/michel.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman";">In <i style="mso-bidi-font-style: normal;">Breathless</i>, Michel Poiccard dies
dramatically in the middle of the street in Paris, in a manhunt. This event,
however, is foreshadowed earlier – for instance, in a moment, which seems to encapsulate
the film’s uncertain tone, Michel follows a joke about a condemned man to ask, <i style="mso-bidi-font-style: normal;">“Do you ever think about death? I think
about it all the time.”</i> Morrey quotes other instances that reference the
passing of the years too quickly, the choice between grief and nothingness, and
concludes that, the many premonitions lend an air of inevitability to the final
event when it happens. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">But in his
analysis he rejects the clichéd existential interpretation of death in the
film. Death is not invoked to remind us of the difficulty of the situation the
lead characters face; it is not a device, therefore, to highlight human freedom
and the need to take responsibility for our choices. On the contrary, Morrey
quotes Maurice Blanchot, who proposes that Michel’s end is a <i style="mso-bidi-font-style: normal;">“death without truth”</i> His death cannot
therefore be understood or overcome in any proper way, it is a symbol of that
the unthinkable, which cannot be understood from within life. It echoes the
failure of Michel and Patricia to communicate with each other. There is a
strong sense of futility attached to it. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi780IU0Mg65CrBY7CWK7UEfTeGHTBYauzLJvkhBxf3COwgxWoMip6nWtthSdDtbCjE2IHKEG6ko0eRjkULcyro-vQIOx7PLbjb2t6nMdpnEuDR58pYLe181YFd1-JFmiFhkbomUURamNI/s1600/contempt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi780IU0Mg65CrBY7CWK7UEfTeGHTBYauzLJvkhBxf3COwgxWoMip6nWtthSdDtbCjE2IHKEG6ko0eRjkULcyro-vQIOx7PLbjb2t6nMdpnEuDR58pYLe181YFd1-JFmiFhkbomUURamNI/s320/contempt.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Whereas, in <i style="mso-bidi-font-style: normal;">Contempt</i>, Camille and Prokosch’s joint
death in a car crash tends to appear absolutely out of the blue. Morrey agrees
that it is easy to misconstrue Camille’s death as a form of punishment for her
actions, her end maybe seen as being misogynistic twist to the narrative. </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">However,
he points out that Camille’s death does not have any narrative motivation as in
<i style="mso-bidi-font-style: normal;">Breathless</i>, and neither is it
motivated by the overall circumstance, as in Nana’s end in <i style="mso-bidi-font-style: normal;">Vivre sa vie</i>. Nana’s death is again foretold through her identification
through Joan of Arc, but Morrey argues that her death in a shootout between
Raoul and a rival pimp is not a punishment for her whoredom. He analyses the
film to show that Nana is in fact a very strong, and memorable character- she
is an existential heroine who engages with the real questions of life.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Death makes an
appearance in <i style="mso-bidi-font-style: normal;">La Petit Soldat</i> as well
when Bruno kills Palivoda, motivated more by emotion, than by any political
belief. Bruno also echoes Michel when he asks, <i style="mso-bidi-font-style: normal;">“Do you ever think about death</i>”, Blanchot points out that this is
the single, central question, the question of everything- the question that
cannot be asked. Bruno also refers to the extraordinary sensation of
photographing death. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-no-proof: yes;"><!--[if gte vml 1]><v:shape id="Picture_x0020_2" o:spid="_x0000_i1025"
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1JjOXlI2qxKdU-tLTf5d2LTiUfdyJsFBF22cVjgqd5Suk37j-Hfe3izptIbkh9p1btHUJeEfXqdpERG9k5lzE_Iue69K3jtMGhUszJTZ6msrJiBZZtfXrssDfrJcuCAmUJUbv5zFifrs/s1600/ici-et-ailleurs2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1JjOXlI2qxKdU-tLTf5d2LTiUfdyJsFBF22cVjgqd5Suk37j-Hfe3izptIbkh9p1btHUJeEfXqdpERG9k5lzE_Iue69K3jtMGhUszJTZ6msrJiBZZtfXrssDfrJcuCAmUJUbv5zFifrs/s320/ici-et-ailleurs2.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">This idea of
photographing death is explored further in <i style="mso-bidi-font-style: normal;">Here
and Elsewhere</i>, when Godard talks about footage from 1970 that features
people who are no longer alive- almost all the Palestinian actors died in
attacks by the Jordanian Army. Godard then says, <i style="mso-bidi-font-style: normal;">“The film filmed the actors in danger of death”</i>. Morrey points out,
then, that this idea relates to Jean Epstein and Cocteau’s poetically
melancholic ideas that, <i style="mso-bidi-font-style: normal;">“cinema films
death at work on the faces and in the bodies of actors” <o:p></o:p></i></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">In effect then,
we may conclude that in analyzing death in Godard’s films, some patterns exist.
For one, the death of characters is often foretold and hangs over the film like
a dark cloud, many times the death is not motivated by the narrative and is a
symbol for the unknowability of existence, at other times, it is a more empowered
sense of death that emerges as an existential victory over life’s
meaninglessness. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><o:p> - Preeti</o:p></span></div>
<!--EndFragment-->JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-35024337694975796852011-12-21T00:26:00.000-08:002011-12-21T00:26:28.460-08:00Godard/Marker, Erasing the Distance<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">For the final
paper for this class I chose to compare Godard’s work to that of Chris Marker’s.
I focused on three films, <i style="mso-bidi-font-style: normal;">Here and
Elsewhere</i> (1974) <i style="mso-bidi-font-style: normal;">Sans Soleil</i>
(1983) and <i style="mso-bidi-font-style: normal;">Far From Vietnam</i> (1967) -
an anthology film orchestrated by Marker featuring Godard, Ivens, Varda and
other filmmakers from the Left Bank + New Wave. I was drawn to this topic
because I am especially interested in how the documentary form intersects with
fiction and vice versa. While, H & E and FFV were both dealing with an
overtly political subject in a new way i.e. neither film follows the
traditional documentary rules. I turned to Sans Soleil because it is the only
film that offered me any deeper insights into Marker’s specific style- in the spirit of the collective- Marker was not forthcoming on his exact
contribution to FFV. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">In my paper, I
began by tracing Marker and Godard’s initial fascination for cinema verite.
While Marker caused controversy by offering a very partisan look at the lives
of Parisians in Le Jolie Mai – clearly a verite film, Godard used verite
techniques to lend a documentary feel to his fiction work. Both filmmakers
however looked to create new forms of expression that better suited their
interest in a more political cinema. I then discuss how both filmmakers create
these new forms of cinema, as Astruc predicted; through the camera stylo
approach- their content/ideas are embodied in the form itself- they are writing
their thoughts onto film. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The paper then cross
references all three films; FFV and H & E both are dealing with similar
problems- how can one represent a reality that is so far away? FFV mixes
performance and fictional accounts with actuality footage from Vietnam, it
contains a long piece by Godard who thinks out loud- and discusses the problem
of creating an ethical cinema, I see that, many years later, he solves some of
these problems in H & E. H & E also attests to the failure of
documentary to be a witness. It is indicative of a crisis of representation in
cinema. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">One of the key
conceptual breakthrough’s Godard has in H & E relate to his concept of
replacing the ‘or’ with an ‘and’ i.e. by breaking down a binary way of looking
at the world, one can close the distance between here and elsewhere, us and
them, France and Palestine (Deleuze) I propose that Marker is also doing something
similar with his concept of the horizontal montage in Sans Soleil. He is “adding”
words to images, and breaking down oppositions, forcing us to consider visuals
and text simultaneously. He too is therefore closing the distance. I quote
authors who discuss how Marker’s approach to editing is by turns inspired by
Eisenstein, Kuleshov and Vertov. (Michael Walsh) Lastly, I discuss how Godard
and Marker see images as tools of capitalism, and specific relationships they
draw between history, memory, cinema and uniformity of thought. - Preeti<o:p></o:p></span></div>
<!--EndFragment-->JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-39966242580300420732011-12-20T13:00:00.000-08:002012-01-02T12:56:01.675-08:00The Legacy of Band of OutsidersGodard planned for his seventh feature film release, "Band of Outsiders," to be a commercial success, but unfortunately, at the time, it was one of the lowest grossing films he made to date. However, today, we see many influences of this film on popular culture, and can surmise from this that the film has gained popularity and an audience, no matter how niche, through the generations. New York Times film critic, Eugene Archer said, back in 1964 when the film was first screened at a festival in NYC, that this film is before its time and that one day, he predicted that Godard's work would be at home in film museums. Godard is the king of quoting other authors, artwork, popular culture references, etc. but now that his work is being quoted, I wonder if he has issues with this, especially because the ways his work is usually quoted/adopted/ripped off is in a way he probably wouldn't agree with. Contemporary filmmaker, Quentin Tarantino, regularly borrows from Godard, but there are news articles that record Godard's anti-Tarantino sentiments, especially regarding the filmmaker's production company, now closed, "A Band Apart." Tarantino also gained inspiration from the Madison dance sequence from "Band of Outsiders" to use in his very successful film, "Pulp Fiction". You can see the dance sequence in "Pulp Fiction" here and Tarantino admits that he was directly inspired by Godard for this. However, Tarantino does not utilize the dance sequence the way Godard did and this superficial treatment must have been annoying for Godard to see compared to his original one.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/aLZl6R7JGCc?feature=player_embedded' frameborder='0'></iframe></div>
Godard would also probably be quite annoyed if he caught wind of this Diesel advertisement released as part of their campaign in 2010 that ripped off of Godard's Madison dance scene. I don't think it is necessary to say what's wrong with this video since it's quite obvious, if you study Godard and his ideologies that this video is the exact thing he would not support.<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/QmmmZUS4JBA?feature=player_embedded' frameborder='0'></iframe></div>
To top all of this off, the name, "Band of Outsiders" has such a great ring to it that Hollywood Film Agent turned Designer (now that's just too whore-ishly commercial to digest) Scott Sternberg uses the film's title as the brand of his clothing line. He says that he just liked the name but the label has nothing to do with the film really or anything related to Godard for that matter. It's just a trendy, catchy name... sad.<br />
<br />
if you'd like to read more, it's all in my term paper.<br />
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SunandaJLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-61822958008950925332011-12-19T20:47:00.000-08:002011-12-19T20:50:14.239-08:00Godard et Rohmer: Four Moral Tales<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: 'Times New Roman';">As a self-proclaimed Maoist in the 60's, Godard in many, if not all, of his films touches on politics and encourages the viewer to ask him or herself questions relevant to contemporary political issues. Although politics is a conspicuous topic in many of his films, gender and morality always seems to have an undercurrent theme throughout the course of his work. Godard’s contemporary however touches on these subjects rather overtly. Eric Rohmer author and director of Six Moral Tales, is one of Godard’s French New Wave comrades, and two of his films that heavily carry the theme of morality,</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"> </span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><i>Ma Nuit Chez Maud </i></span><span class="Apple-style-span" style="font-family: 'Times New Roman';">and</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"> </span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><i>La Collectionneuse,</i></span><span class="Apple-style-span" style="font-family: 'Times New Roman';"> </span><span class="Apple-style-span" style="font-family: 'Times New Roman';">share several similarities to Godard’s</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"> </span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><i>A Woman is a Woman </i></span><span class="Apple-style-span" style="font-family: 'Times New Roman';">and</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"> </span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><i>Vivre sa Vie</i></span><span class="Apple-style-span" style="font-family: 'Times New Roman';">.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjet8cQuvSG3bBeyOum3a9D_RAl5IgE5Y8Xscb9DsmEpzmO9JTWe6SkXNUj-P4PjWbQiENJLL98YQ2j2IQ5mmcbDDj1RqkEmXEhGFbcyP4EU68MgBefT2ewPtaRr2AyOrYn6jBPEY0AB1s/s1600/DownloadedFile-2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a>Angela, Maud, Nana, and Haydeé are all judged by their male counterparts for stepping out of what is considered to be the social norms. They are promiscuous, coquettish and they challenge the traditional female role and the hegemonic male structure; for these reasons, the men in their lives share a love-hate relationship with them. </div>
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<span class="Apple-style-span" style="font-family: Cambria;">Rohmer literates his films,
while Godard builds his films with imagery. The correlation of the two helps to define the French New Wave.</span></div>
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<span class="Apple-style-span" style="font-family: Cambria;">-ar</span></div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-9464266571901845242011-12-19T19:21:00.000-08:002012-01-03T07:12:58.563-08:00Godard/FRAME/De-abstraction<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Oor0XcTLw7NVUsB7o0bt5k-HNRXBvxPj-jcs71PnQvJKjhMS5lFCDCAFdRm-AaJQwlGeIFHzS308Yw5CJy0r4A0W-qkmmoLllsqEj3AFIPIK_wVs3iOOtFWT16dRt__Hvq5W_Ha7tb4/s1600/Screen+shot+2011-12-12+at+2.16.23+PM.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Oor0XcTLw7NVUsB7o0bt5k-HNRXBvxPj-jcs71PnQvJKjhMS5lFCDCAFdRm-AaJQwlGeIFHzS308Yw5CJy0r4A0W-qkmmoLllsqEj3AFIPIK_wVs3iOOtFWT16dRt__Hvq5W_Ha7tb4/s320/Screen+shot+2011-12-12+at+2.16.23+PM.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">(1) Godard: A Letter to Freddy Buache (1982)</span></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="font-size: x-small;">Following
on the framework definition offered by Deleuze, “… we will call the
determination of a closed system, a relatively closed system which includes
everything which is present in the image—sets, characters and props—framing.
The frame therefore forms a set which has a great number of parts, that is of
elements, which themselves form sub-sets. It can be broken down” (Deleuze 12), it
seems relevant to develop a critical approach to the contemporary linguistic framework analysis, and correspondingly offer some ways to
understand framing within the multilayered environments of cinematic media. One
might question the effectiveness of contemporary frame research (coming out of
political science and communications) in bringing a reductionary analysis of
linguistics into the study of news journalism and television. Though, some scholars
have looked at a variety of relational elements of framing, and thus framing as a process that process a multilayered frame environment (Deleuze, de
Vreese), the majority of frame theorists have interjected a simplified version
of what is a complex web for political analysis. It is for this reason that
there is need to readdress new conceptions of ‘process’ oriented framework and
potentially apply or develop a typographical approach to the study of framework
within the complex media environment that connects medium types and movement
images.</span></span></div>
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<span style="font-family: Arial;"><span class="Apple-style-span" style="font-size: x-small;">If we are
to understand Deleuze’s conception of framing as an extensive one, one which incorporates
images and sub-sets of images and objects (not triggered by linguistic determination, or a priori value, but experience), then the frame becomes not only made up
of the images within a single take or shot, but rather the relations developed
between images through time. The frame, in this sense- incorporates the total environment in which the montage develops (image, sound, language, geometry, object, character, etc.). </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX5ltH9HN3ORzljzJ7Xo4BqWTpzrchDgMWYDOwHGx-FywI4c5X9a0p_bcUh-ScYfyVt5MWB8jgoH9VgQ-d756abi6VWmNuZvz-bI3HCdn-R_lh4UOPu-O59VW3Z6a9uyOJ7e0Je3ZtV6E/s1600/Screen+shot+2011-12-12+at+2.13.24+PM.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-size: x-small;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX5ltH9HN3ORzljzJ7Xo4BqWTpzrchDgMWYDOwHGx-FywI4c5X9a0p_bcUh-ScYfyVt5MWB8jgoH9VgQ-d756abi6VWmNuZvz-bI3HCdn-R_lh4UOPu-O59VW3Z6a9uyOJ7e0Je3ZtV6E/s320/Screen+shot+2011-12-12+at+2.13.24+PM.png" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">(2) Godard: A Letter to Freddy Buache (1982)</span></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><br />
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="font-size: x-small;">Within his</span></span><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span><span class="Apple-style-span" style="font-family: Arial;"><i><span class="Apple-style-span" style="font-size: x-small;">Letter to Freddy Buache</span></i></span><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="font-size: x-small;">(1982), Godard’s "frame" becomes both apparent within the linguistic space of his production, as well as within the content and movement image. All of which are "subversive" yet posit a framed vision of urban life. First, as seen in (1) the camera takes a new form of geographic tour, panning over trees, and tracking subway cars, and moving over banks of water, catching locations of color common to the space of Lausanne. here Godard expresses that the frame is the re-presentation of urban life. Godard's production becomes a sort of rearrangement of the data of Lausanne that he presents as most salient in the (re)memory of the space. </span></span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="font-size: x-small;">In another sense, the frame is inherently pedagogical, as it asks one to see the marginalized spaces of urban climates (bodies of water at the boundaries of the city, trees which create temporary borders) as the most inherent to an urban ontology. Godard's pedagogical technique, in this sense, becomes the de-abstraction of the urban environment. Those things that tend to be out of the frame, subtracted from the frame, here are recognized as the frame. This all operates in contrast to a traditional documentary in which subjects are featured (abstracted from the urban environment) in order to speak about the urban environment. </span></span></div>
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<span class="Apple-style-span" style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;"><br /></span></span><br />
<span class="Apple-style-span" style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: 13px;">Jay Bowe</span></span></div>
<br />JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-15306713746575553272011-12-19T13:57:00.000-08:002012-01-03T06:42:32.287-08:00Jerry Prokosch SpeaksMy paper will be to contextualize Godard's quote describing a collapse between audience and film ("at the cinema, we do not think, we are thought") using a discussion of ideology, Ranciere's ignorant schoolmaster, Deleuze and Michael Witt's discussions of Godard's work in relation to metaphor and then to show how this position not only generally informs his films but also -<u>and here's the hypothesis</u>- that this position has a direct effect on Godard's narrative, or better, filmic structure. The premise is that it is not enough to say that Godard tends to eschew traditional narrative, but that he does so in particular ways (and perhaps somewhat systematically) to arrive at his unique film rhetoric that is largely determined by the annihilation of distance in his epistemology and all its aesthetic consequences. I might be looking more closely at <i>2 or 3 things</i>, <i>Ici et ailleurs, Le gai savoir, </i>and <i>Notre musique. </i><br />
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<i>-Jerry Prokosch</i>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-336591246032334792011-12-18T16:22:00.000-08:002011-12-18T16:27:50.205-08:00The Personal as Political<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The act of watching television is done in a private and domestic space; while the act of watching cinema is done in a public space. The same can be said about video -- the materiality of video indicate watching something that is private and amateurish (therefore more real?) The final essay I am working on will compare the often excluded early video experiments by Godard to early feminist video art. Like Godard, artists like Joan Jonas and Martha Rosler used video/television to produce work that deconstructed language of image by pointing the camera on their own body. For Godard his focus is on cinematic and television images, while Jonas and Rosler focus on stereotypical representations of their own images -- as women. Their own bodies, their presence in their videos, as well as the materiality of videotapes created a (personal) political framework that challenge then deconstruct then construct what an image is.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">My focus will be on Godard's Soft & Hard and the beginning/end sequence of Numero Deux; and I will mainly look at Joan Jonas' 1972 video piece Vertical Roll, and other feminist videos such as Martha Rosler's Semiotics of the Kitch and Hermine Freed's Art Herstory. I am also focusing and tie in Rosalind Krauss' article "Video: The Aesthetics of Narcissism." Krauss' main argument is that video is a psychological medium, not a physical one: "video's real medium is a psychological situation, the very terms of which are to withdraw attention from an external object -- an Other -- and invest it in the Self." I would like to argue that video -- although having a narcissist view -- is a physical medium, one that ages and disintegrates over time just like oneself (and personal sphere).</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joan Jonas -- Vertical Roll</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">-arv</span></div>
</div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-50593073368525565252011-12-16T18:28:00.000-08:002011-12-18T21:42:50.042-08:00<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
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<span style="font-size: large;"><b style="color: red;">Ah...Anna.</b></span></div>
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<span style="font-size: small;">Anna Karina is not only an incredible actress who has been in seven of Jean-Luc Godard's movies, she is also a model, singer and novelist, even to this day she is still active.</span></div>
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<span style="font-size: small;">Originally from Denmark, the moved to Paris at age 17 and very quickly was approached by an advertisement company, became a fashion model and met Pierre Cardin and Coco Chanel, who advised her to use the name Anna Karina instead of her real name Hanne Karin Blarke Bayer.</span></div>
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<span style="font-size: small;">I found a fairly recent interview of Anna Karina, celebrating the 20th anniversary of Serge Gainsbourg who she collaborated with on a musical. (The interview is not translated in English sadly, but here's the video anyway!)</span><br />
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<span style="font-size: small;">In that interview, she talks about how she ended up in that musical called <b>Anna</b>.<i>"I simply got a phone call saying "Would you like to be in a musical?" I was so happy, it was my dream, ever since I was a little girl. When they said it would be called Anna, I asked them why they chose my name. They answered "Because we haven't found another title!" "</i></span></div>
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<span style="font-size: small;">Serge Gainsbourg wrote and collaborated with Anna on seven songs in that musical, two of which are "Sous le Soleil Exactement" and "Roller Girl" who were great successes at the time.</span></div>
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<span style="font-size: small;"> <span style="color: red;">Anna Karina - Sous le Soleil Exactement</span></span></div>
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<span style="font-size: small;">Serge Gainsbourg's version of Sous le Soleil Exactement </span></div>
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<span style="font-size: small;">In 2010, she has collaborated with a French singer Philippe Katerine (known as a very eccentric "crazy" performer in France) for the audio version of her rewrite of <i>"The Ugly Duckling"</i>. She said about this novel by Hans Christian Andersen: <i>"I modernized it. It's the first story I read when I was little. Immediately I felt close to the ugly duckling. When I was little I was very ugly. I'm not pretty today but I was a very ugly girl until the age of 13-14. It's around that time that boys started turning around in the street to look at me and sometimes they would whistle!" </i>she says laughing and hiding her red face behind her two hands. <i>"It doesn't seem like it, but I am very shy."</i></span></div>
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<span style="font-size: small;"><br /></span></div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-30261424966036628152011-12-16T16:58:00.000-08:002011-12-19T01:13:08.412-08:00<div style="color: red; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: justify;">
<span style="font-size: large;"><b>DORT ON BRECHT/GODARD AND BRECHT</b></span></div>
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<span style="font-size: small;">Written in 1960 and published in the <i>Cahiers du Cinéma</i>, Bernard Dort's text "Towards a Brechtian criticism of Cinema" exposes the Brechtian methods, aims and structures in theater and how those can be looked at in cinema, though Dort says that Brechtianism "rejects and strongly refuses all relation with the cinema in its open claim to be specifically and exclusively theatrical." Though it is specifically theatrical, since Brecht focused on theater, Brechtianism does not exclude cinema per se, and Godard proves it. Brecht's aesthetic is based on the involvement of the viewer in the story to make him an active member of the spectacle. Indeed, rather than implicating the spectator in a piece, Brecht's epic theater turns the spectator into an observer, an active thinker, by creating a distanciation or alienation effect ("Verfremdungseffekt").</span></div>
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<span style="font-size: small;">Moreover, "the audience should never forget it is at the theater" and will therefore study what it is seeing and instead of being involved in something, it is made to face something of a social and political nature. Brechtian methods remind the spectator that this is a spectacle, would make sources of light visible by the audience, have billboards to indicate the time and place or to summarize action.</span></div>
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<span style="font-size: small;">Brechtian theories which seem to deny cinema, actually reject its continuity and the viewer's identification with a character, which lead the viewer to become a passive watcher of the action.</span></div>
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<span style="font-size: small;">Therefore, because of that, one can say that it excludes cinema. But how can a film still be considered Brechtian since in its nature cinema can seem contradictory to the Brechtian philosophy? Can a film not exist as an autonomous language?</span></div>
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<span style="font-size: small;">Any film author can choose what he wants to deal with in a movie, and it can deal with its own process, a part of alienation coming from Brecht - cinema can chose to reflect cinema and remind the viewer that this is a film we are watching.</span></div>
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<span style="font-size: small;">In accordance with this perspective, elements of Brechtianism can be found in many of Godard's films, whether it be in "Le Mépris" which deals with the making of a film (film inside a film, "metafilm"). In fact, the credit sequence is given in a voice-over in the opening scene and in the first scene we see a camera filming.</span></div>
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<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdunSNFjKG79DuCxWwe-IZJhEqWZ4AFv7XFXMiOuR8ukdjyHaeUaJy2iGDmHY9vTWtd6O-XWCNALzpd13yhOtBwTwoAKVYBxbQh26mFyCvT9z1d19fto6X1cXFhLN2cNfpTYvDMrbFoq0/s1600/Capture+d%25E2%2580%2599%25C3%25A9cran+2011-12-16+%25C3%25A0+19.23.52.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdunSNFjKG79DuCxWwe-IZJhEqWZ4AFv7XFXMiOuR8ukdjyHaeUaJy2iGDmHY9vTWtd6O-XWCNALzpd13yhOtBwTwoAKVYBxbQh26mFyCvT9z1d19fto6X1cXFhLN2cNfpTYvDMrbFoq0/s400/Capture+d%25E2%2580%2599%25C3%25A9cran+2011-12-16+%25C3%25A0+19.23.52.png" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Le Mépris — Opening Scene</span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><br /></span></td></tr>
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<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGaTzbdDHY0PJTskHF4BrKnGEu3R8hswXTlUo0hqX0ywAN8IO1ouc9mY-U0igZ25LRbXono07MgdI_Ax0XNpZ1-Vq0_eaM7g3-XK8r6u4s1xXDDRs363d1ps4DCt22pvItCgwwtKa6spY/s1600/Capture+d%25E2%2580%2599%25C3%25A9cran+2011-12-16+%25C3%25A0+19.22.19.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGaTzbdDHY0PJTskHF4BrKnGEu3R8hswXTlUo0hqX0ywAN8IO1ouc9mY-U0igZ25LRbXono07MgdI_Ax0XNpZ1-Vq0_eaM7g3-XK8r6u4s1xXDDRs363d1ps4DCt22pvItCgwwtKa6spY/s400/Capture+d%25E2%2580%2599%25C3%25A9cran+2011-12-16+%25C3%25A0+19.22.19.png" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Le Mépris — Shooting scene </span></td></tr>
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<span style="font-size: small;">Another example would be "Week End" where the actors actually comment on the film, such as Roland: "What a rotten film. All we meet are crazy people." The intertitles offer a running
commentary on the action: “A film adrift in the cosmos’’ — “A film found
on a dump’’—“The Lewis Carroll Way’’—“From French Revolution to
Gaullist weekends: freedom is violence.’</span></div>
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<span style="font-size: small;">In his essay, Dort suggests when giving the example of Dudow's 1932 "Kuhle Wampe" that a modern viewer wouldn't grasp the message conveyed in the film since it doesn't know the German political and historical references that appear throughout the film.</span></div>
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<span style="font-size: small;">However, Godard does give us the information necessary to understand the location and time the film is taking place in, though the questions it asks remain timeless in certain cases like in "Vivre Sa Vie".</span></div>
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<span style="font-size: small;">The most obvious Brechtian element would be the fact that it is divided
into twelve parts -"tableaux" - each chapter having a title and a small
resume of what is to come, but also like as a commentary of what is to come. </span></div>
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<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwElZrfw_wa1GG6EqFLhPdGeygeCdOF3vRjTCayklRpOvL3FRNdfbICI-2q6iKpdw53PqMp0tbe-j1izq_0PNbzjBWyfKqQ3mnKz_NmizpjZ2UUpuANhv2_GK72G2W690b4Izqn2szSrE/s1600/Capture+d%25E2%2580%2599%25C3%25A9cran+2011-12-16+%25C3%25A0+19.42.46.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="110" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwElZrfw_wa1GG6EqFLhPdGeygeCdOF3vRjTCayklRpOvL3FRNdfbICI-2q6iKpdw53PqMp0tbe-j1izq_0PNbzjBWyfKqQ3mnKz_NmizpjZ2UUpuANhv2_GK72G2W690b4Izqn2szSrE/s400/Capture+d%25E2%2580%2599%25C3%25A9cran+2011-12-16+%25C3%25A0+19.42.46.png" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Vivre Sa Vie — First three tableaux</span></td></tr>
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<span style="font-size: small;">Also, the music used throughout the film is more of a commentary to the film itself and what is happening in the film rather than music "simply" appearing at the peak moments of sadness, to make sure that the audience understands "this is a sad moment", like in most films.</span></div>
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<span style="font-size: small;">The fact that the music keeps repeating itself also comments on the lack of free will of Nana's character. The movie is divided into tableaux, which breaks with the continuity of film, as we are reminded that it is a film we are watching. Godard also said "“Why twelve, I donʼt know; but in tableaux to emphasize the theatrical, Brechtian side", clearly an strong influence in his films.</span></div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-76709621765693658452011-12-13T18:54:00.000-08:002011-12-14T08:03:48.439-08:00<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: large;">The Dziga Vertov Group and The Spectators Redemption</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial;">The Dziga Vertov Group films produced by Gorin and Godard
are problematic despite their best efforts in eliminating the line between
the producers and viewers, because the medium inherently holds stultifiying
qualities. Cinema is a spectacle, by it's nature it is a one way medium.
The more pedantic the film, the more stultifying it becomes and therefore
undermines its own hopeful message. I will argue that <i>Le Weekend</i> (a
pre-Dziga Vertov Group Film) and <i>Tout Va Bien </i>more effectively
communicate their political / social commentary than <i>La Chinoise</i> (also
pre-Dziga Vertov Group) and <i>Le Vent d'Est </i>using Ranciere's
"Emancipated Spectator" and MacBean's article, "Godard and the
Dziga Vertov Group: Film and Dialectics" as my key texts.</span><span style="font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial;"> <o:p></o:p></span></span></div>
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<span style="font-family: Arial;">MacBean's article lays out the mindset and
intentions of the film makers of the Dziga Vertov Group. They sought to rid
themselves of the idea of bourgeois authorship and utilize Brechtian principles
throughout the film making process. They worked with other militants in the
cause through the physical process of film making, later to show these films to
militant workers and students. The films were meant to activate those in the
audiences to do more and continue to evolve their theory and practice, however
I would argue that the results are more stultifying and condescending than they
intended. Instead, more successful of the radical films in Godard's canon are <i>Le
Weekend</i> and <i>Tout Va Bien </i>precisely because they are more opened to
interpretation and lay out characters and sequences in a less overbearing and
more equidistant manner in line with the medium of cinema. <span class="Apple-style-span" style="font-size: 16pt;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="line-height: 32px;">Linds</span>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-58716698499460456142011-12-12T09:59:00.000-08:002011-12-14T07:47:45.640-08:00Spectacle and Montage<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The Spectacle for Guy Debord is the
incessant propaganda of images that sell capitalism; it is a "worldview
that has been materialized." An inconspicuous separation between reality
and image is inherent to everyone. For Debord, the capitalist system thrives on
keeping the masses in an obscure and an indefinable reality.</span></span><span style="color: #222222;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_eDSPuAMGgf3HXcZnpfFd7OJAP7S8KcvHj6z0CDK3VpDGf4RATzmd7PCiUJDyH5pKduE1ijyU74pFjDshvb3XMI_7SF6DOCnyUepthkZyhyTwnFXG004qvhn149Ix5RiJAxgvgBr7TEU/s1600/Society-of-the-spectacle.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl5jp_NTeWGJ_O0ItNzNxwNGx4vADGSfaQpbb_BcLLip4NvI9h1FBCXLKi7MEbS8W0Wimm2ftWmRB5LjbPJ9MHn31eju4Jsx2Pxr6flQZ6yuTSL4MYpKlNun_i5u3-duUebtAeSTryjbQ/s1600/1433_guy_debord_film_still_197.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_eDSPuAMGgf3HXcZnpfFd7OJAP7S8KcvHj6z0CDK3VpDGf4RATzmd7PCiUJDyH5pKduE1ijyU74pFjDshvb3XMI_7SF6DOCnyUepthkZyhyTwnFXG004qvhn149Ix5RiJAxgvgBr7TEU/s1600/Society-of-the-spectacle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_eDSPuAMGgf3HXcZnpfFd7OJAP7S8KcvHj6z0CDK3VpDGf4RATzmd7PCiUJDyH5pKduE1ijyU74pFjDshvb3XMI_7SF6DOCnyUepthkZyhyTwnFXG004qvhn149Ix5RiJAxgvgBr7TEU/s320/Society-of-the-spectacle.jpg" width="248" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl5jp_NTeWGJ_O0ItNzNxwNGx4vADGSfaQpbb_BcLLip4NvI9h1FBCXLKi7MEbS8W0Wimm2ftWmRB5LjbPJ9MHn31eju4Jsx2Pxr6flQZ6yuTSL4MYpKlNun_i5u3-duUebtAeSTryjbQ/s1600/1433_guy_debord_film_still_197.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl5jp_NTeWGJ_O0ItNzNxwNGx4vADGSfaQpbb_BcLLip4NvI9h1FBCXLKi7MEbS8W0Wimm2ftWmRB5LjbPJ9MHn31eju4Jsx2Pxr6flQZ6yuTSL4MYpKlNun_i5u3-duUebtAeSTryjbQ/s320/1433_guy_debord_film_still_197.jpg" width="283" /></span></a></div>
<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The media becomes an integral part of
communication. And this communication is seldom carried out without media,
according to Debord. People communicate on the basis of film, and music rather
than of the person, meaning people communicate </span></span><i><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">through</span></span></i><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> the spectacle.<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">These never-ending images that
foretell our decisions and opinions in Debord's </span></span><i><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Society of the Spectacle</span></span></i><span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, may also be compared to Godard's use of
montage, images that inform and foretell without actually telling us what to
believe, but showing us what to believe. In his later films especially, Godard
guides the viewer through an interweaving experience compounded with images
that create a definition for the "narration". <o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Debord's Spectacle of semiology and Godard's use of Montage
both have enticing tactics, which have the ability to attract and manipulate
the voyeuristic eye.</span></span></div>
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<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">-ar</span></span></div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-50431359045311203912011-12-12T08:44:00.000-08:002011-12-14T08:04:32.358-08:00Son + Image = His Image + Her Image (Or Non-Collaborative Acts In A Collaborative Manner)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguB8lxD5XvejZ6YhsRIJm3u0kLkzYl8TdnPaSmhK3t7yNLnehUCsgGVJkyqH5gbS5NQeMIiwrnPR-GvbLBsClZIb44FvOki8aU-5CITNoocfYy5w8E1kmWRYWtbsfXq4InvltobiVXTB0/s1600/CRI_151664.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguB8lxD5XvejZ6YhsRIJm3u0kLkzYl8TdnPaSmhK3t7yNLnehUCsgGVJkyqH5gbS5NQeMIiwrnPR-GvbLBsClZIb44FvOki8aU-5CITNoocfYy5w8E1kmWRYWtbsfXq4InvltobiVXTB0/s400/CRI_151664.jpeg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Collaboration blurs the line of personal identity. Can one truly collaborate in a manner that does not limit the person you already are? Catherine Grant quotes Godard in the beginning of <i>Home Movies: The Curisous Cinematic Collaboration of Anne-Marie Miéville and Jean-Luc Godard </i>"The Straubs work in tandem, on the same bicycle, him in front, her behind. We have two bicycles." Grant categories the three strands of a Miéville/Godard collaboration: joint projects, "acting" together or alone in each other's films, and forms of parallelism in the works they have directed alone. The last two are focused on individual works, but yet Grant considers it form of collaboration. But (and how) can auteur theory be applied to a collaboration like Miéville/Godard (Sonimage)?</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Regardless of their roles as collaborators, their collaboration is one that is both complex and simple. Miéville/Godard or Miéville and Godard are interchanging the meanings of auteur director and collaborators and at the same time, serving their main purpose: producing audio-visual work.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQQ0BPFzWmn-KVhD7JAp9Jv3Xwc6cjA4NR-h4aopZtUo2HGumuwvuVtmzDxxL7-fyKLs-cpBc71WHrv1EoFE5NDC8ep5UBaZHRhIs6iKW8VcqlnK9zlGBK1VK7vKddSfg4jcYvZzthXLc/s1600/Jean-LucGodardAnne-MarieMieville-3.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQQ0BPFzWmn-KVhD7JAp9Jv3Xwc6cjA4NR-h4aopZtUo2HGumuwvuVtmzDxxL7-fyKLs-cpBc71WHrv1EoFE5NDC8ep5UBaZHRhIs6iKW8VcqlnK9zlGBK1VK7vKddSfg4jcYvZzthXLc/s400/Jean-LucGodardAnne-MarieMieville-3.jpeg" width="400" /></a></div>
<br />
-arv<br />
<br />JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com1tag:blogger.com,1999:blog-6056468613032447619.post-23060457300310335492011-12-12T08:09:00.001-08:002011-12-14T07:47:16.830-08:00Vivre Sa Viehttp://www.youtube.com/watch?v=U2Uqlz_TQG0<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN4xLOqm0Qcc0mYPfcCh4TG4Ng-DfhAZre5g9IDVPkVfNjq72BjBr4Ly5OCA4TBC47EjHHRExUIDwRcuiE_3ojZ32e446o6JNV7FewHvtoOaz1HAxx4XF6zTMZZqhwIuaIOFa4BR6lxhU/s1600/karina-recordstore.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN4xLOqm0Qcc0mYPfcCh4TG4Ng-DfhAZre5g9IDVPkVfNjq72BjBr4Ly5OCA4TBC47EjHHRExUIDwRcuiE_3ojZ32e446o6JNV7FewHvtoOaz1HAxx4XF6zTMZZqhwIuaIOFa4BR6lxhU/s320/karina-recordstore.png" width="320" /></a></div>
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<br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">One of my favorite scenes in in Vivre Sa Vi is the record store scene that begins about 9 minutes and 21 seconds into the film. The scene last for approximately 3 minutes and is done in a long take, making use of a dynamic dollying and panning around the store. To me, this scene comes across as a hybrid of rehearsed / open filmmaking. It is an example of how Godard’s work being mechanically complex and not just conceptually. In fact, everything comes across as planned with the exception of how the scene ends when the camera pans to a shot looking outside of the window of the record store. </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I also like the examples of Distanciation scene in the film, such as when the repetition of lines, or “pick ups” left in the film, which Morrey points out. I think what is enjoyable is how Godard plays with Narrative fiction/non-fiction. There is a definitely a Brectian influence, certain scenes allow the
spectator to get caught up in the narrative, just never for too long. The film allows the audience to get sucked in to the conflict or Nana's finacial burden and her entering prostitution but repeatedly pulls them back, never allowing for complete identification with the character. This method could be viewed as a way to allow the audience to connect with how capitalism essentially traps them in their own decision making, and as a way to avoid the spectator seeing the negative side of capitalism solely through the scope of Nana's specific situation and problem. </span><br />
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<br />
-Joe V.<br />
<br />JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com2tag:blogger.com,1999:blog-6056468613032447619.post-27184111110241779502011-12-11T17:54:00.001-08:002011-12-14T08:05:09.743-08:00Foucault’s “What is an Author:” A Retrospective<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I thought it would be
interesting to revisit the notion of author discussed at the beginning of the
semester in retrospect to Godard’s later work. In light of Godard’s <i>Histoire(s) du Cinema</i> screened in class,
I was curious to make a few parallels between Foucault’s “What is an Author?”
and the issue of history, ownership and citation given Godard’s referencing to
other films in this work, especially in <i>Historie(s)</i>.
This is not a claim to right an argument for or against the notion of “author,” but merely to pose a few
rhetorical thoughts on the intention of authorship, and history. Foucault
brings attention to the historical relevance of ownership to text arguing that
discourse was not always just a thing, but an act of decent in some cases
(108). However, the most interesting claims are his explanations of the “author
function.” Foucault writes, “the author function is therefore a characteristic
of the mode of existence, circulation and functioning of certain discourses
within a society” (108). In short
Foucault goes on to describe the issues that pertain to the author function;
however his fourth characteristic of the author function seems to be an
intriguing parallel to thinking about <i>Histoire(s)
du Cinema</i> and Godard. Foucault states the fourth characteristic as follows:
“it [the author function] does not refer purely and simply to a real
individual, since it can give rise simultaneously to several selves, to several
subjects—positions that can be occupied by different classes of individuals”
(113). This characteristic describes the complexity of authorship and influence
of a given work. Foucault has mentioned earlier of the plural nature an
individual because when one hears the name, one also relates the name to
multiple references. In regards to
the plurality of the self or “several selves” it is interesting to think about
influence being a part of authorship. For Foucault there is a distinction
between ownership and authorship. While ownership suggests an inherent right to
the work, authorship suggests a beginning or a process set in motion. With this
quotation in mind, it is curious the role of ownership/authorship in regards to
<i>Historie(s)</i>. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Godard composes a film
that is entirely composed of references to other films, but simultaneously
Godard put the project into motion. It is not just films that are referenced;
it is individuals, media and art. Here, the question of ownership of these
referenced texts are sometimes obscure, but other times familiar. The question
is: Is it important for Godard to claim ownership or authorship to the film?
Leading up to <i>Historie(s),</i> especially
in his earlier films, he has laid claim to authorship in his work. However,
this claim does not mean for Godard a method set completely in stone. <i>Historie(s)</i> is an interesting example
because is lies in the somewhere in the in-between. One could trace the
extensive references in the film; however, that only seems to be one component
of the larger whole. Godard seems to be one step ahead of critics because it
takes time before one finally catches up to his work, and as one does Godard
has moved on to something else. That said, one final parallel to Foucault and
Godard that needs mentioning is a line in the concluding paragraphs of the
essay, Foucault writes,</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“…as our society changes, at
the very moment when it is in the process of changing, the author function will
disappear, and in such a manner that fiction and its polysemous texts will once
again function according to another mode, but still with a system of constraint—one
which will no longer be the author, but which will have to be determine or,
perhaps, experienced” (119).<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It seems as though Foucault is
speculating a time when the term author is no longer used to describe a work,
but examined by, what he calls “the modes of existence” (120). It is
interesting to draw attention to how history is portrayed in <i>Histoire(s) du Cinema</i> because it is
everything, but simple. The title is a double if not triple meaning, but the
content too has multiple meanings because each individual experiences the
references a number of ways due to their own personal histories. It means
something different for Godard as well. <i>Histoire(s)</i>
becomes this working example of a work that could be examined using “the modes
of existence.” One possible meaning or application of existence to the film
could be the way the references function in the terms of personal memory to the
viewer or someone writing about the film. However, this would be only one of
many possible modes. The film is unique to those who experience it, an
experience that goes beyond the individual who set it in motion, but more
importantly how it exists. </span><span class="Apple-style-span" style="font-family: Helvetica; font-size: 11pt;"><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-small;">jml</span></div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-19503027661583687592011-12-10T15:11:00.001-08:002011-12-14T07:46:51.358-08:00<i><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Rhythmic Montage and Music Videos</span></b></i><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Eisenstien's writings on montage clarified, for me, the different categories that seem fitting to all types of montage. However, when I was thinking about Rhythmic montage, naturally music videos came to mind. Filmmakers usually treat visual elements as the primary and auditory elements as secondary. However, when it comes to music videos, the whole purpose the video is created is to 'support' the song. It is used as a marketing tool, allowing the label or artist to create an artist's brand, image, and just for exposure of the song through visual media such as television or the internet. Music videos can be either narrational or not but they almost always have something to do with the lyrics of the music or the tonality of the music. Most of the time, they are edited very rhythmically to accentuate the beat of the song. One interesting example is Michel Gondry's work because he goes beyond editing to use the visual to support the music. He uses post-production special effects. I wonder what Eisenstien would have to say about using special effects to tell a story and if he could categorize different types of special effects or not. A great video of Gondry's to cite would be Chemical Brother's "Star Guitar".</span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/0S43IwBF0uM?feature=player_embedded' frameborder='0'></iframe></div>
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_SunandaJLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-65970046352408886042011-12-10T14:57:00.001-08:002011-12-14T07:46:27.097-08:00<b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bande A Part - Dance Homages</span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Band of Outsiders was the first Godard film I had watched and upon seeing the dance scene in the cafe, I was hooked on the film. I thought it was a very simple yet effective way to really describe the characters without being too expositional or verbose. The voice over which interjects through out the scene describes the thoughts of the characters but furthermore, their dance styles also express who they are. Arthur's "couldn't care less" attitude is expressed in his loose easy movements. Franz, who is in love with Odile, obviously makes an effort in his movements to perhaps try and impress her, although his thoughts are flighty. Odile on the other hand is dancing very consciously of trying to look "sexy" without really achieving it. We also hear her thoughts and it's obvious she is trying to seduce the men with her dance but as she is an innocent schoolgirl, it is unsuccessful. It was interesting to find different homages to this scene posted on youtube. They mostly look like student productions, but are much more succinct. I suppose it must have something to do with the average attention span these days being shorter which is reflected in these shorter pieces, but they attempt to capture the essence of the scene.</span><br />
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<b><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A French Language Homage - Dancing with Strangers </span></i></b><br />
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<b><i><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A Brazilian Production by Students - Bando A Parte</span></i></b><br />
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<i>_Sunanda</i><b><i><br /></i></b><br />
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</div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0tag:blogger.com,1999:blog-6056468613032447619.post-21545309474298991552011-12-08T09:24:00.001-08:002011-12-14T08:07:48.997-08:00LIVE FREE OR DIE!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLtx3WcBvOg5754nnl3f77DsYhrZLeTklxO5cLaMcQImSlgo6gpWE_vzVfeRBkBwZVd3W_idd2iE92mts_Pol7rcgC7o5UFyZTMEbqRlEuSmMAyyW9ZFPSHw_v5VsupRmFfQL0Nwx1XdA/s1600/anna+gun.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLtx3WcBvOg5754nnl3f77DsYhrZLeTklxO5cLaMcQImSlgo6gpWE_vzVfeRBkBwZVd3W_idd2iE92mts_Pol7rcgC7o5UFyZTMEbqRlEuSmMAyyW9ZFPSHw_v5VsupRmFfQL0Nwx1XdA/s320/anna+gun.jpg" width="320" /></a></div>
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<span style="font-family: Arial;">Chiming in with AR’s post, I have been thinking
about Rancière’s emancipated spectator in relation to Godard. One of the
interesting threads that came up in the class discussion was whether Rancière
might be considered post-modern. While I don’t want to and probably can’t offer
a complete argument one way or another, I would like to spelunk one important
crevice along this fault line. </span><span style="font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 16.0pt;">Like many post-structuralist arguments, Rancière’s
argument for the emancipation of the spectator is based in the rethinking of
(deconstructing) a series of apparent oppositions. This is where he discusses
the binaries of activity/passivity, viewing/knowing, appearance/reality to
suggest that they are perhaps not really so diametrically opposed and that
someone who appears passive can really be very active in that their observation
is a part of their way of knowing and that the mere appearances they are
observing can tell them many things about the world. </span><span style="font-family: Arial; mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;"><o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 16.0pt;">Simultaneously, however, Rancière makes the case
for the importance of the impenetrably garrisoned individual. This, I maintain,
proclaims loudly against the pomo annihilated subject. Does Rancière’s argument
go this far? I think it might. While we must submit to a vast blurring of
boundaries it is only through the “irreducible distance” between the viewer and
the viewed that we are capable of composing these, our own poems out of the
timber of the forest of signs and facts – a notion that is the foundation of
the possibility of emancipation for Rancière. </span><span style="font-family: Arial; mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;"><o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 16.0pt;">Godard on the other hand, believes that “in the
cinema, we do not think, we are thought.” For
Godard, Rancière's one irreducible distance is abolished by the very
nature of cinema. The viewer and the viewed are one. He wants to make us
think, it’s true. In fact, according to this argument, he wants to "think
us" – a totalitarian proposition if I ever heard one. Of course, I don’t
think Godard really wants to be a totalitarian, he wants us to be
free, but his epistemology is opposed to the realization of this goal. He seems
to be operating under the New Hampshire state motto, but read as an imperative:
Live Free or Die!</span><span style="font-family: Arial; mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;"><o:p></o:p></span></div>
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<span style="font-family: Arial;">-Jerry Prokosch</span><span style="font-family: Arial; font-style: italic;"><o:p></o:p></span></div>
<!--EndFragment--></div>JLGhttp://www.blogger.com/profile/15570026741533761456noreply@blogger.com0