2 Politics Introduction The problem in America is that we don’t apologise, and we don’t learn. The protests against the Iraq War worldwide were enormous. I don’t think Americans got a sense of the protest or the damage in Iraq at all. The protests were not that big a story in the USA. The American press report on every story from an American viewpoint. It is what comes naturally to them. It’s not done out of malice; they don’t know any better.1 In his introduction to an episode of the PBS programme Open Mind, recorded in January 1992, host Richard Heffner
Ian Scott and Henry Thompson
A reply from Saturday Night to Mr. Dienstag
Tracy B. Strong
rate at which a director might turn out B-movies. There are, however, great films, just as there are great operas. How did/does opera function? What is it about music and voice? Mr. Cavell’s last claim – one we have known since Plato – is that the interplay between the “personal” and the “political” is such that they cast light on each other and show what possibilities for
1 Beyond political modernism 2 The key political modernist auteur: Jean-Luc Godard with Eddie Constantine and Anna Karina on the set of Alphaville (1965) I n an important article written in 1972, Peter Wollen set forth the stakes of a counter-cinema that could be opposed to what he referred to as orthodox cinema (Wollen 1985). He proceeded to map the ‘seven deadly sins’ of orthodox cinema in order to oppose them directly to the ‘seven cardinal virtues’ of counter-cinema. The opposition declared here was one that, in time, became known as the discourse of
Working within the 1970s French avant-garde, Duras set out to dismantle the mechanisms of mainstream cinema, progressively undermining conventional representation and narrative and replacing them with her own innovative technique. However, the experimental impetus of her cinema was not motivated solely by artistic or aesthetic considerations, but also had important political implications. As Prédal has
emptying its people and places of their individual identities, enabling readers and spectators alike to project their own stories, thoughts and fantasies on to the bare outlines offered. If Duras’s creative enterprise was shaped to a large extent by memories of her childhood and adolescence, her involvement in the political history of France since the Second World War played an equally important role, particularly in her cinema. Indeed, a
6 Before and after the political While he was editing Entre les murs, Cantet was given Joyce Carol Oates’s classic American novel, Foxfire: Confessions of a Girl Gang to read. First published in 1993, the novel presented itself as a mature woman’s account of her 1950s youth and involvement with a gang of girls spurred into revolt against an oppressive, male-dominated society. Cantet was gripped by the book and unsurprisingly drawn to an adaptation. The novel contains so many of his favourite themes: the collision between the utopian and the real; shame and
Cochet ou le tennis that certain of these motifs would soon find a more fully poetic and more explicitly political expression in Zéro de conduite . In the latter, Vigo was to develop his heart-felt denunciation of the oppressive educational system, as well as his lyrical celebration of adolescent fun and games. As for Cochet ou le tennis, at first the outline was approved by the production team at GFFA, and Vigo was even
ESPN and the Un-Americanisation of Global Football
This article examines the cultural politics of American soccer fandom, with specific attention paid to the ways in which the sport is positioned and platformed by the major sports networks, including, especially, cable televisions biggest player in the United States, ESPN. The networks‘ failure to exploit soccer as a marketable commodity can be traced to a persistent American futility at the sport on the international level, but it evinces as well a larger American cultural problematic, one in which ethnocentrism and isolationism is disguised, as it often is, as American exceptionalism.
The Dardenne brothers
creative or poetic documentary and for the way in which it provides a pre-history for the later fictions, a pre-history which not only points to the novelty of the socio-political terrain upon which they have to operate, but also helps us to understand some of the radical stylistic and formal choices that they make. The documentaries sought to explain, prolong and question a leftist tradition of struggle at a time when it and the
Pablo Corro‘s 2014 book Retóricas del cine chileno (Rhetorics of Chilean Cinema) is a wide-ranging examination of the style and concerns that have come to characterise Chilean film-making from the 1950s to the present day. Corro demonstrates how ideas of national cinema are always to some extent dependent on transnational currents of cinematic ideas and techniques, as well as on local political contexts. The chapter presented here, Weak Poetics, adapts Gianni Vattimo‘s notion of weak thought to discuss the growing attention paid by Chilean films to the mundane, the everyday and the intimate. Corro‘s dense, allusive writing skilfully mirrors the films he describes, in which meaning is fragmented and dispersed into glimpsed appearances and acousmatic sounds. Corros historicisation of this fracturing of meaning allows the cinema of the everyday to be understood not as a retreat from politics, but as a recasting of the grounds on which it might occur.