有关Godard...
翻了很多本“French Cinema” “New Wave”之类的书，还有Godard和Truffaut的传记及采访录（为什么有关老戈的书那么多都是采访实录，电影分析等的有实质内容的东西；而F.T.的都是些泛泛的介绍？>_<）
在这本For Ever Godard里发现一段文字：
I have quoted John Lennon on Elvis(“Elvis died the day he went into the army"), who became a petit soldat more or less as Godard was shooting his film of that title, for two reasons. One is that in my more rebarbative days I was wont to compare Godard and Truffaut to the Lennon and McCartney of New Wave filmmaking–though the analogy of course broke down,indeed became asynchronous,when the “wrong one”died prematurely. The other, more serious reason is that Lennon’s remark suggests a Manichean view of Elvis’s work–the good earlier years and the bad later ones–similar to“the crude digest of images and stereotypes purveyed by much contemporary Godard scholarship”denounced by Michael Temple and James S Williams:
The story is well known: something political happened around 1968 which led to a series of unwatchable films, before Godard then headed for the French provinces to make TV, returning to cinema only in the early 1980s with Sauve qui peut (la vie). This produced in the early 1980s some late masterpieces by an Old Master, after which the old fool isolated in his Swiss retreat appeared to lose the plot.
The crucial difference, of course, is that Elvis’s post-Army records continued to be widely heard and to sell in vast numbers, despite their well-nigh universal critical dismissal and neglect. Godard’s more recent films have experienced the opposite fate, being extremely difficult to see, often extremely difficult to watch, but it sometimes seems all but impossible to avoid reading about.
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在这本For Ever Godard里发现一段文字：
I have quoted John Lennon on Elvis(“Elvis died the day he went into the army"), who became a petit soldat more or less as Godard was shooting his film of that title, for two reasons. One is that in my more rebarbative days I was wont to compare Godard and Truffaut to the Lennon and McCartney of New Wave filmmaking–though the analogy of course broke down,indeed became asynchronous,when the “wrong one”died prematurely. The other, more serious reason is that Lennon’s remark suggests a Manichean view of Elvis’s work–the good earlier years and the bad later ones–similar to“the crude digest of images and stereotypes purveyed by much contemporary Godard scholarship”denounced by Michael Temple and James S Williams:
The story is well known: something political happened around 1968 which led to a series of unwatchable films, before Godard then headed for the French provinces to make TV, returning to cinema only in the early 1980s with Sauve qui peut (la vie). This produced in the early 1980s some late masterpieces by an Old Master, after which the old fool isolated in his Swiss retreat appeared to lose the plot.
The crucial difference, of course, is that Elvis’s post-Army records continued to be widely heard and to sell in vast numbers, despite their well-nigh universal critical dismissal and neglect. Godard’s more recent films have experienced the opposite fate, being extremely difficult to see, often extremely difficult to watch, but it sometimes seems all but impossible to avoid reading about.
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