1976 ‘Ici et ailleurs’ Directed by Jean-Luc Godard, Jean-Pierre Gorin …
Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.
Embodies the 70s Godard aesthetic of excessive stimulation not only because it employs it, but because that’s what it’s dealing with on the thematic level as well. Even in the bourgeois French home, the children watch TV, then do homework, then eat dinner—an itinerary with little room for deviation. The idea of overstimulation is similar: if we are being faced with an unending succession of stimuli, which will each naturally seem to build upon the prior given the simple fact of how these signals are interpreted, how can we deviate and watch/listen to something else.
By assaulting our senses and thoughts (is it possible to fully process such wordy musings given the speed at which they’re related to us?), Godard…
Ici et ailleurs, Here + Elsewhere, Everywhere and Nowhere
"Learn to see here, in order to hear elsewhere"
To Jean-Luc Godard, the extreme leftist years 1968-1972 were all about aggressive attemps to influence the audience with Jean-Pierre Gorin; and then, poof. What was something idealistic and seemingly simple (Jusqu'à la victoire - Until victory), faced the cold truth: death.
We are but an endless montage. Sequences in space and time, images, sounds, triumphs, failures, truths, lies. Shouldn't the world be so simple, or did something just complicate and corrupt it? War, politics and how easily cinema can manipulate reality. Should we ever allow lies, even for a good cause?
Hopes and dreams turn to dust, noise to silence. Here and…
Participando do curso da Casa Guilherme de Almeida dado pelo Raphael Cubakowic sobre Godard finalmente pude criar coragem para enfrentar o Godard dos anos 70, a verdade é que venho postergando a entrada naquela década de seu cinema porque não me sentia preparada, mas acho que agora tenho uma certa noção do que o cume experimental da carreira dele representa.
Neste cine-ensaio avassalador, Godard e Miéville incitam o pensar na forma que a imagem (e o som) conta a história e como o ocidental regurgita tudo isso de uma maneira um tanto quanto minimalizada, há sobreposições de imagens por todo o filme, mas isso fica claro mesmo no seu final: com a família francesa assistindo TV displicentemente e a imagem dialética dos palestinos comentando a morte em seus futuros. E nós somos bombardeados com isso o tempo todo.
DVDRip no MakingOff.
When confronted with the question of the Israel-Palestine conflict, most people respond by digging their head in the sand, hoping the problem magically goes away on its own. Been that way for three-quarters of a century now. Jean-Luc Godard, however, ain't like most people. Over the years, Godard has defended the Munich massacre, made countless parallels between Zionism and Nazism, boycotted Israeli-produced cinema, and even labeled Israel "a cancer on the map of the Middle East." Many like to frame themselves as "revolutionaries" and "anti-imperialists," but Godard actually puts his money where his mouth is, consistently using his voice, in cinema and in day-to-day life, to challenge the imperialist powers—regardless of the consequences. Truly, a fearless filmmaker.
Out of all…
Lots of interesting ideas and really like what he's doing with images here. I lack the political context to fully appreciate this but it's still an effective piece of work.
"We were not just working--we were conquering, conquering, conquering land. We were a company of conquistadores." -David Ben-Gurion
The Palestinian struggle is one of the most admirable in the world. Their struggle against the massacre of their fellow country-men, their struggle against the theft of their land, their struggle from freedom. All oppressed people can learn from their struggle for a free, independent Palestine
Godard portrays the feyadeen and the Palestinian people with so much empathy. My heart goes out to the Palestinians forever fighting for freedom!
“We must fight for one Arab nation, for unity, for freedom, for socialism. We must defeat enemy number one, America, the supplier of Hawk missiles to Israel, and we must seize our own oil resources. We must learn to emulate our Algerian brethren in order to liberate Palestine. Long live Palestine, Arab and revolutionary!” -Leila Khalid
And from the river to the sea, Palestine will be free!
Not to be performatively sanctimonious, but it's gross to have this rare footage of soon-to-die Palestinian revolutionaries, and to use it as mere grist for your postmodern despair. The movie self-flagellates on its manufacture and manipulative intent, such as when a summary "translation" is interrupted by a second narrator who rebuts the first summary for being too academic and then relays what the people in the footage are actually saying. This doesn't stop the filmmakers from, say, taking their footage of a guy making a long, mechanically-amplified speech that I must presume outlines a perspective on the war, and leaving it untranslated, again talking over it, satirically pontificating on the physical distance the audience has to keep from speakers, or…
"ناتواني در ديدين يا گوش سپردن به اين تصاوير ساده از كجا مي آيد؟ما،مانند بقيه،در حال گفتن چيز ديگري درباره آنها هستيم،چيز ديگري نسبت به آنچه آنها در حال گفتن آن هستن.اغلب به نظر مي رسد كه ما نمي دانيم چگونه ببينيم يا بشنويم.يا صدا آنقدر بلند است كه واقعيت را پنهان مي سازد.بياموزيم كه اينجا را ببينيم تا جاي ديگر را درك كنيم،بياموزيم كه گفتار رادرك كنيم تاببينيم ديگران چه انجام مي دهند،ديگران،جاي ديگرِ اينجايِ ما"
Here and Elsewhere marks Godard's transition into video experimentation and into sociology of the West's interactions with images (in particular, television) and how they both reflect and distort reality and cultural perceptions. I'm sure there's probably good writing out there on this film and Edward Said's writing on Orientalism, but I also sort of wonder if it can be argued that Godard himself inadvertedly (and ironically enough) contributes to it. At any rate, the film identifies common perceptions of peripheral images and lack thereof — there is the here and the elsewhere.
Me initially: late Godard is annoying and pedantic
Me 5 minutes in: Anti-Israel sentiment? Based, 5 stars!
O que inicialmente era um filme do grupo Dziga Vertov sobre uma guerrilha pró-palestina, acabou tendo seu destino alterado após trágicos eventos do chamado setembro negro, 5 anos após as gravações Godard retoma esse material para construir um filme ensaio sobre a própria natureza das imagens e seu uso como política.
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Com uma construção narrativa baseada na associação e no embate de imagens e de sons, Aqui e em qualquer lugar nos oferece uma reflexão sobre o papel do cinema como produtor de imagens, e mostrando o seu poder de manipulação e principalmente as suas limitações, e sua impossibilidade de emular a vida real.
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O grupo Dziga Vertov foi fundado pelos cineastas Jean-Luc Godard e Jean-Pierre Gorin, e…
