anna

[godard]

   What to say?

https://www.theguardian.com/film/2019/dec/15/anna-karina-french-new-wave-star-dies-aged-79-jean-luc-godard

   Gloria

--

Gloria Monti, Ph.D.
Associate Professor
Cinema and Television Arts 
CSUF, Fullerton, CA
glori...@gmail.com
_____________________________

[Sergio Basbaum]

oh. Sad news. :-/

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[small tapecase]

oh thank you for letting me know, gloria 

and oh thank you anna karina 💙

[Francis van den Heuvel]

thanks Gloria...

 

Francis vdH

 

 

From: small tapecase

Sent: Sunday, December 15, 2019 1:23 PM

To: godar...@googlegroups.com

Subject: Re: anna

oh thank you for letting me know, gloria

and oh thank you anna karina 💙

 

 

On Sun, Dec 15, 2019 at 7:44 AM godard <glori...@gmail.com> wrote:

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[Amy White]

* Anna Karina could do nothing and it would be heartbreaking - shattering. When she smiled, the sun rose once again. Thank you diva (1940-2019). *

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[godard]

   I am looking for remarks by Godard's about Karina's passing.  If you find any, will you please post?

   Thank you,

   Gloria

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[Sergio Basbaum]

Do you really believe JLG will say anything? Would not look much like him, that's how I see him today...

s

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--

-- Prof. Dr. Sérgio Roclaw Basbaum
-- Pós-Graduação Tec.da Inteligência e Design Digital - TIDD (PUC-SP)

-- Coordenador Pós-Graduação em Música e Imagem (FASM)

-- http://soundcloud.com/sergiobasbaum

-- http://soundcloud.com/pantharei
-- [:a.cinema:]

...sai dessa fila, vem pra roda festejar..

-- a.cinema

-- pantharei_tube

B'H'

"Do mesmo modo como a percepção da coisa me abre ao ser, realizando a síntese paradoxal de uma infinidade de aspectos perspectivos, a percepção do outro funda a moralidade (...)"
Maurice Merleau-Ponty

[John Carnahan]

A great presence, lyrical and funny. 

Rest in peace.

John

[zasimczuk]

Oh... you can have my personal story...

I saw Vivre sa vie in Buenos Aires , in the late sixties,  at small art cinema.

I was probably 18, still very innocent. It changed me forever

I remember walking Florida St almost in shock. 

I will never forget her

RIP

Diana

[Sergio Basbaum]

This is beatiful, thank you!

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[Jürg Stenzl]

An artist speaks with his works, much less through his biography.

JLG is a perfect proof of this!

My book about the music in his films tried to show this. Unfortunately in german ...

Best

Juerg Stenzl

Am 16.12.2019 um 14:46 schrieb Sergio Basbaum <sbas...@gmail.com>:

Do you really believe JLG will say anything? Would not look much like him, that's how I see him today...

s

On Sun, Dec 15, 2019 at 6:42 PM godard <glori...@gmail.com> wrote:

   I am looking for remarks by Godard's about Karina's passing.  If you find any, will you please post?

   Thank you,

   Gloria

On Sun, Dec 15, 2019 at 11:29 AM Amy White <paralle...@gmail.com> wrote:

* Anna Karina could do nothing and it would be heartbreaking - shattering. When she smiled, the sun rose once again. Thank you diva (1940-2019). *

<image.png>

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[godard]

   Juerg:

   This is different.  It's not about artistry.  It's about human decency.

   Gloria

On Fri, Dec 20, 2019 at 5:17 PM Jürg Stenzl <juerg....@utanet.at> wrote:

An artist speaks with his works, much less through his biography.

JLG is a perfect proof of this!

My book about the music in his films tried to show this. Unfortunately in german ...

Best

Juerg Stenzl

[Dmitry Golotyuk]

Except that with Godard the boundaries between one and another are less and less definite as manifested by his radical gesture of transferring his "studio" (his personal stuff that surrounded him for several decades) to the Fondazione Prada or, to cite more usual example, his highly cryptic, precisely because of its very personal character, response to the death of Rohmer in the form of short film.

PS. It would be great to have your book translated into English or French. In fact, it attracts me for a long time, not only because the sound dimension of Godard's work is very important for me but also because it seems that we share one of our favorite composers. I mean Luigi Nono to whom you devoted another book.

[andy rector]

I wondered about that, Dmitry... if many of Godard's tools and personal things (that brown leather chair we've seen him in for at least a decade) are in Milan for the Fondazione Prada show, then where and how is he living and working (as he announced that he's begun a new film called 'Scenario') back in Rolle? Have you heard anything about this?

As for Godard's statement on Karina's passing, he's said 'goodbye' and 'I love you' to her many times through his films since they separated in 1967... in his use of her/their images in HISTOIRE(S), and elsewhere, and even perhaps by quoting the tender sequence from LE PETIT SOLDAT in LIVRE D'IMAGE... 

Yours,

Andy

---

From: godar...@googlegroups.com <godar...@googlegroups.com> on behalf of Dmitry Golotyuk <tit...@gmail.com>
Sent: Friday, December 20, 2019 6:35 PM
To: Godard-list <godar...@googlegroups.com>
Subject: Re: anna

 

Except that with Godard the boundaries between one and another are less and less definite as manifested by his radical gesture of transferring his "studio" (his personal stuff that surrounded him for several decades) to the Fondazione Prada or, to cite more usual example, his highly cryptic, precisely because of its very personal character, response to the death of Rohmer in the form of short film.

PS. It would be great to have your book translated into English or French. In fact, it attracts me for a long time, not only because the sound dimension of Godard's work is very important for me but also because it seems that we share one of our favorite composers. I mean Luigi Nono to whom you devoted another book. 

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[Дмитрий]

I have no details, Andy, but, as the photos from the recent issue of Cahiers show, his "bureau" is still equipped enough to enable him to work (though it contains only a wooden table or two, a pair of chairs and some simple book shelves, but in fact it wasn't much less Spartan when we were there, except there were also some paintings, collages, photos and statuettes). And I'm pretty sure that the same goes for his editing room, his machines. As for his living room it was already totally rearranged (becoming less "living") when we came there for the second time, and you know that for each new film Fabrice Aragno sets new "scenario"-shelves for him, so... he is used to reconfigure his home in a way. What strikes me most is that he gave all these personal belongings, his paintings, figurines, posters and so on which accompanied his life (and films) for so many years. But "l'art naît de ce qu'il brûle..."

 

And I'd like to add (though maybe that's evident) that this Orpheus Studio is of course imaginery in the sense that it consists of a stuff taken from different rooms and different floors, it's a kind of installation (but, as we all know, he doesn't like the word).

сб, 21 дек. 2019 г., 7:58 andy rector <kino...@hotmail.com>:

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[andy rector]

Thank you for sharing what you know of Godard's situation, Dmitry. My impressions of Godard's living/work space is of course based on several stills, Aragno's descriptions, a few video interviews, and the great REMERCIEMENTS (https://www.youtube.com/watch?v=5VatAacFZyk); I have not been there, as you and Antonina have (for those of you in the Godard group here who don't know, Dmitry visited Godard in Rolle and did a terrific interview in 2016, made along with Antonina Derzhitskaya, which can be found in English here: https://mubi.com/notebook/posts/jean-luc-godard-2018-words-like-ants)

After your explanation, Dmitry, I can see now that the objects in Milan are not all his personal affects, and not even close to all his tools... That's not all folks.  

Best to all,

Andy

Jean-Luc Godard (2018): Words Like Ants on Notebook | MUBI Our first meeting with Godard took place in Rolle in May 2016. 1 At that time, the idea for The Image Book had already taken shape: a four-part structure became six parts (the five "fingers" as a long introduction and the "hand" that includes them all), while the script contained many shots and texts that would be used in the film (some things would disappear, however, and other textual and ... mubi.com

Remerciements de Jean-Luc Godard à son Prix d'honneur du cinéma suisse Ευχαριστήριο μήνυμα του Jean-Luc Godard σχετικά με το βραβείο του Eλβετικού Κινηματογράφου www.youtube.com

---

From: godar...@googlegroups.com <godar...@googlegroups.com> on behalf of Дмитрий <tit...@gmail.com>
Sent: Saturday, December 21, 2019 4:28 AM
To: godar...@googlegroups.com <godar...@googlegroups.com>
Subject: Re: anna

 

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[David Arthur-Simons]

Dear Godard List

I'd like to end 2019 with a cheer for Godard's Le Livre D'Image (The Image Book) - though it was screened at Cannes in 2018 it was officially released in New York in January 2019 and continued throughout 2019 to remain head and shoulders above all the other mediocre films that were released throughout 2019, most notably the films that have rather mystifyingly topped the end of year lists like Scorsese's dim-witted The Irishman (which cost an unbelievable $180M) and the equally dull Tarantino's Once Upon a Time in Hollywood ($96M).  

Godard's modest Le Livre D'Image must have cost only a few dollars (compared to the Hollywood big budget fiascos) given that he quotes from texts and videos of films that must have been on the shelves around his desk since at least the 90's when he made Histoire(s) du Cinema which Le Livre D'Image resembles.  

Le Livre D'Image is an assemblage of some of Godard's personal memories and touchstones as well as one of the richest and darkest meditations on:

- the corrosive power of the West: 

"Moral fault was merged with state crimes"

"The innocent may pay for the guilty"

"Christianity is the refusal to know oneself - the death of language"

- the abuses of war:

"We couldn't imagine that war could end without our deliverance - War is therefore divine. 

Who could believe that the victims had shed their blood in vain. 

The flag goes with the foul landscape. 

I'm calling prejudice what one ignores.

Is it more permissible for a government or an individual to be an assassin? 

The cat that makes his master's ambitions derisory. 

It doesn't matter - all is grace"   

- the manipulative power of political movements: 

"A government powerful enough to give people everything they wanted is powerful enough to take all they have away" 

"Every political ambition uses the excuse to pretend to sacrifice itself for the people's happiness but the people have not asked you for anything they just want to live in peace".

 - and finally a reflection and a paean to the Middle Eastern region of Dhofar:

"Happy Arabia

There are more philosophers in the East than in the West

They have more time to philosophize".

"We were talking about what we saw in dreams - we wondered how in total darkness colours of such intensity could emerge within us. They are the product of our knowledge of light.  Knowledge sees."

These are some of the many wonderful and profound textual, filmatic and musical quotes in Le Livre D'Image -  and uncharacteristically Godard gives a full list (correct me if I'm wrong - for the first time I think) of all quoted sources at the end of the film - I nearly fell off my chair when I saw this - since all the way through the film I kept thinking "Where is that from?" "Where will I find a concordance to unlock these images and texts further?"

Many quotes from the film filled me with awe and wonder and excited my pulse and made me feel I was still and again in my twenties - and this is I think is the amazing power Godard possesses in his work  - he has continued to instill this kind of feeling and inspiration (in me at least) for his entire life as a film maker spanning nearly 60 years.  How on Earth has he continued to remain young?  In a world where anyone and everyone may call for the dismissal and utter evisceration of anyone who fractionally disagrees with their world view, Godard continues to see that the possibility of looking at things different changes everything.   

"Do you think men in power today in the world are anything other than bloody morons?

Why dream of being king, when one can dream of being Faust?

But no one dreams of being Faust anymore and everyone dreams of being king".  

It's a marvelous view of a world of what could be but it is immediately tempered by another quote spoken by a woman perhaps Anne-Marie Mieville?: 

"We are never sad enough for the world to be better". (Elias Canetti)

He ends with a cry for revolution in Dhofar - still and again he cries for revolution:

"There has to be a revolution"

"Throwing bombs in Dofa [Dhofar] seems natural - they only way they can express their revolt against the harsh methods of the government - as far as I'm concerned I'll always be with the bombs".

But then he gives us another better more personal ending by celebrating his art:

".... to produce is to breathe.... to exist"

which links back to the first scene of the film where he says: "Man's true condition: to think with hands" (meaning editing - thinking with the hands). 

And then the final quote from the film - a word of encouragement for all who feel oppressed or defeated: 

"And even if nothing would be as we hoped it would change nothing of our hopes - they would remain a necessary utopia". (Peter Weiss)

Le Livre D'Image was a wonderful way to begin 2019 and an even better way to end it - it fills me with the excitement and promise of a rich and invigorating 2020.  

I wish you all a productive and prosperous 2020 full of the revolutionary and re-visionary spirit of Le Livre D'Image. 

David Arthur-Simons

デイヴィッド アーサーシモンズ

डेविड आर्थर-सिमंस

大卫·亚瑟·西蒙斯

Дэвид Артур-Саймонс

Δαβίδ Αρθούρος-Kαιmονς

سيمونز آرثر ديفيد

 

[Sergio Basbaum]

Thank you David for this inspiring message.

Indeed, one of the best intellectual moments I've had in 2019 was a debate on Le livre d'image.

a good 2020 for you all Godardians

s

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[Francis van den Heuvel]

Thank You Sergio

 

Francis

 

From: Sergio Basbaum

Sent: Tuesday, December 31, 2019 11:01 AM

To: godar...@googlegroups.com

Subject: Re: Le Livre D'Image - Best film of 2019

Thank you David for this inspiring message.

 

Indeed, one of the best intellectual moments I've had in 2019 was a debate on Le livre d'image.

 

a good 2020 for you all Godardians

 

s

 

On Tue, Dec 31, 2019 at 11:11 AM 'David Arthur-Simons' via Godard-list <godar...@googlegroups.com> wrote:

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--

-- Prof. Dr. Sérgio Roclaw Basbaum
-- Pós-Graduação Tec.da Inteligência e Design Digital - TIDD (PUC-SP)

-- Coordenador Pós-Graduação em Música e Imagem (FASM)

-- http://soundcloud.com/sergiobasbaum

-- http://soundcloud.com/pantharei
-- [:a.cinema:]

...sai dessa fila, vem pra roda festejar..

-- a.cinema

-- pantharei_tube

 

B'H'

 

"Do mesmo modo como a percepção da coisa me abre ao ser, realizando a síntese paradoxal de uma infinidade de aspectos perspectivos, a percepção do outro funda a moralidade (...)"
Maurice Merleau-Ponty

 

 

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[Tom Farrell]

https://www.jonathanrosenbaum.net/2020/01/review-of-richard-brodys-everything-is-cinema-the-working-life-of-jean-luc-godard/

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[Francis van den Heuvel]

Thanks Tom...

 

Best regards

 

Francis

 

 

From: Tom Farrell

Sent: Sunday, January 05, 2020 5:47 PM

To: godar...@googlegroups.com

Subject: Le Livre D'Image - Best film of 2019

https://www.jonathanrosenbaum.net/2020/01/review-of-richard-brodys-everything-is-cinema-the-working-life-of-jean-luc-godard/

On Dec 31, 2019, at 9:11 AM, 'David Arthur-Simons' via Godard-list <godar...@googlegroups.com> wrote:

 

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[Danny van der Merwe]

I'd like to end 2019 with a cheer for Godard's Le Livre D'Image (The Image Book) 

Dear All, 

I am wondering wether now is not the right time to pose this question be they Godard's or anyone else's.

Do we really need images in our lives? Who says? 

Best

Danny van der Merwe

Cameraman 

Capetown

[Sergio Basbaum]

Dear Danny,

I answer your deeply iconoclastic rhetoric question from Brazil, where images of our president offend us on a daily basis. 

Here he is, greeting a box of chloroquine with his worshipers, when there are already more than 70,000 deaths in the country, and we don't even have a health secretary. Isn't it quite an image?

I'm not sure we need images. Jewish tradition has long ago suggested they were to be avoided in face of their hallucinatory powers -- idolatry (this is Vilém Flusser's account also).

However, they are all around, and we better be able to understand them. Even if they hurt our spirits.

a good week for you all

s

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[David Arthur-Simons]

Hello Danny,

To quote myself from my review of Le Livre D’Image from which, Danny, your question seems to emerge:

“In a world where anyone and everyone may call for the dismissal and utter evisceration of anyone who fractionally disagrees with their world view, Godard continues to see that the possibility of looking at things differently changes everything”.   

I think that seeing is image-making.  Seeing is a series of stills that when gathered together in a sequence as in an event or memory or a film or a book, create the resemblance of significance (or meaning) - the significance is always in what you bring to the situation - there is no significance in the thing itself - the trees, the river, the sky have no significance except that which we give to them - they don’t even have names except those that we give to them to make our signification of them possible.

My point being that though it seems like we don’t need “images” - we don’t need to go to the cinema, go to restaurants, go to parks, go to social gathering to share or view images - we are constantly making “images” in our head and giving them significance.  Seeing a cup, filling it with tea - is giving the cup significant and giving me significance because I am giving the cup of tea to myself.

It’s true I don’t need to share this image-making experience of making and giving myself a cup of coffee - I certainly don’t need to project it on a screen in a cinema, or make a speech about it on a podium in a park, or recount it as a story to a group of friends in a restaurant - when and if I do - it amplifies the original image-making experience, and that for some people is the very thing they live for.  Getting the applause, the acknowledgement getting the Oscar or the Palme d’Or makes the whole experience seem really worthwhile.  But really it isn’t necessary to go that far - it’s enough to have and cherish the experience by oneself.

At the end of Pasolini’s “The Decameron” (1971) - the painter (played by Pasolini) who has been painting a fresco throughout the film, has a vision of an apparition of the Madonna that is far greater than anything he has been able to paint (but of course the apparition is also part of himself and not separate from him) so that when he looks at his finished painting he exclaims: “Perché realizzare un'opera quando è così bello sognarla soltanto?”  (Why create a work of art when dreaming it only is so beautiful?).

So really we don’t “need” to “share” images since the image making goes on quietly, uninterruptedly and unobtrusively as long as our eyes are open and we are seeing one thing after another and making sequences of images.  (It continues even when our eyes are closed in dreams and fantasy - but here by “eyes open” I mean as long as we are alive).

When we do share a certain sequence of images in a film or in a book - it gives us an opportunity to see things differently - as Godard points out in Le Livre D’Image.  

And seeing things differently may be the very reason why we need images and may very well be the impetus of evolution as crudely envisioned by Kubrick in “2001 - A Space Odyssey” when the man-monkey smashing a bone against a rock suddenly recognises that he can use the bone as a weapon to kill his opponents.

Proust says that art allows us to make sense of things that happen in our lives.  If we don't transform things through art (image-making) then they are just meaningless bits of time and space.  But when we take an experience and turn it into art (into an image) it becomes part of us and transforms us. 

“.....For we alone, by our belief, can give to certain things we see a soul”.  

Marcel Proust, Remembrance of things Past (Trans Terence Kilmartin) Vol III p 539

But who are Pasolini, Kubrick and Proust - just a few dead guys?  Or did they change the images we now see because of the way they saw and created images?

Even saying “we don’t need images” creates an image - so in a way we can not avoid having images.  Even in Muslim countries where images are forbidden, images still go on existing because they are made within us whether we share them or not.

So as Sergio says - we better be able to understand them.

And to understand “images” (as much as anything else) I quote Alain from his book “On Happiness”:

Bucephalus - Find the Pin

When a small child cries and refuses to be comforted, the child's nurse often makes ingenious assumptions about the young person's character, his likes and dislikes; she even summons up heredity to help, and claims she can already recognise the father in the son. These attempts at psychology continue until the nurse discovers what has really caused it all: a pin. 

 (....)  

But never say that men are wicked; don't ever say that's their nature. Look for the pin.

David Arthur-Simons

https://www.davidarthur-simons.com/

デイヴィッド アーサーシモンズ

डेविड आर्थर-सिमंस

大卫·亚瑟·西蒙斯

Дэвид Артур-Саймонс

Δαβίδ Αρθούρος-Kαιmονς

سيمونز آرثر ديفيد

On Jul 20, 2020, at 08:00, Sergio Basbaum <sbas...@gmail.com> wrote:

Dear Danny,

I answer your deeply iconoclastic rhetoric question from Brazil, where images of our president offend us on a daily basis. 

Here he is, greeting a box of chloroquine with his worshipers, when there are already more than 70,000 deaths in the country, and we don't even have a health secretary. Isn't it quite an image?

s

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[Danny van der Merwe]

Dear Sergio,

There is a little bit of truth in everything. Here the understanding you speak of is not needed. It may even get in the way.

Kindest

Danny

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[Danny van der Merwe]

Dear David,

You make the assumption that sight is a reliable sense. It is the least reliable but the most weighted of the five senses.

To name a tree is to deny its existence not to signify it.

The cinema is nothing but the mass production of still images. There is in fact no relation between two existing frames lying side by side. It is the cinema's construction of continuity wherein its industry lies and I am not sure that Godard has addressed this key issue.

The deceipt of continuity between two frames is the creation of desire. 

Kindest

Danny

Kindest 

Danny

On Mon, 20 Jul 2020, 16:38 'David Arthur-Simons' via Godard-list, <godar...@googlegroups.com> wrote:

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[David Arthur-Simons]

Hello Danny

By “seeing” I didn’t mean just the function of sight but rather the whole cognitive process of understanding which includes the sense of sight.

That’s why I said: “the significance is always in what you bring to the situation - there is no significance in the thing itself”.

And this is precisely why there is continuity between two frames - stills are not static and separate - they are merged in our consciousness - very little to do with cinema which simply replicates an internal process of gathering, cognition and signification. 

The image we see on the screen has very little resemblance to the image we bring with ourselves to the screen and through which we make our idiosyncratic interpretation of what passes before our eyes and other perceptors.

Images are our way of seeing (understanding) the world.  

David Arthur-Simons

https://www.davidarthur-simons.com/

デイヴィッド アーサーシモンズ

डेविड आर्थर-सिमंस

大卫·亚瑟·西蒙斯

Дэвид Артур-Саймонс

Δαβίδ Αρθούρος-Kαιmονς

سيمونز آرثر ديفيد

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[Sergio Basbaum]

Dear Danny,

>The cinema is nothing but the mass production of still images. There is in fact no relation between two existing frames lying side by side. It is the cinema's construction of continuity wherein its industry lies and I am not sure that Godard has addressed this key issue.

I apologize to the members of this list if I am being too obvious. But, in my theoretical references, this question of the continuity illusion was addressed by Jean-Louis Baudry in the late 1960s, in "Ideological effects of the basic cinematographic apparatus". In this well-known article, he discusses how cinema creates its meaning by hiding its mechanism, concluding that it does not matter much what is in the film: the whole cinematographic apparatus has its own ideological effect, the subject-effect. (I also read this in McLuhanian terms: the medium is the message).

In my humble view, JLG pays his debts to Baudry by openly manipulating celluloid strips in "Histoire(s) ", and making explicit the material basis of cinematic image, and the discontinuity between the frames. 

This is how I think Godard has addressed that.

best

s


 

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[Casey Pegram]

I agree with David. Serge Daney makes the same distinction in his piece 'Montage Obligatory' (available in English translation via Rouge) where he talks about 'the image' and 'the visual.' The visual is nothing more than "the optical verification of a purely technical operation." In that sense, while we are all collectively drowning in the visual, we are more and more lacking images.

Casey

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[Danny van der Merwe]

Dear Serge, David and Casey,

Thanks for filling in the gaps in my knowledge. One lives and learns.

Kindest

Danny

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