Anti-manipulation Godard, free and true images

I. Camera is reality, and film is reality 24 times per second

II. Actors are just called upon and I despise them. You tell them to laugh and they laugh, you tell them to cry, they cry, you tell them to crawl and they crawl, I think it's absurd...they're not free people.

III. Strange, when I look at my face, I feel that I don't fit in with it, in your opinion, which is more important, the outside or the inside?

IV. Photographer Raoul calls it the Law of Big Trouble, and every time I'm about to shoot, an unexpected thing stops me.

V. Today everyone hates the French and I am proud of the French. But I am also against nationalism. People defend ideas, not territories. I love France because I love Du Berret's films. I like Germany because I like Beethoven. I don't like Barcelona because of Spain, but because of Barcelona, ​​I like Spain. I like America because I like their cars. I don't like Arabia because I don't like deserts and I don't like Colonel Lawrence. Or the Mediterranean and Albert Camus... The same goes for people, we can't be forced to love them all. As Gitri said "We don't know where to go in love anymore".

Godard disliked the pre-arranged lines and dialogues in filming, and he rejected the dialogue tradition of the film, because dialogue would make the audience identify with the characters and induce the audience to unconsciously participate in the dreams and fantasies of capitalist marketing. He believes that the film should prompt the audience to make a rational analysis of the images and sounds on the screen, and can not one-sidedly make the audience fall into emotion, so as to have a critical attitude. (Jiao Xiongping) So it can be seen that most of the protagonist's lines appear in the form of voice-overs, which makes the audience unconsciously participate in the dialogue with the characters, think about the story, analyze the story, rather than immerse in the story. At the beginning, the protagonist said, "I'm too old, and they won't let me be the protagonist." In the segment of the road chase, the script theory was vividly involved in the scene and was spoken out by the protagonist. The manipulation behind the image is revealed at the ontological level of the image. Godard is undoubtedly very opposed to this manipulation. Just as he resents the "territorial precedence of ideas" result of nationalist manipulation instilled at the national level. You must first love the special aspect before you can love the universal aspect. Love the individual things first before you can love the whole, otherwise people will end up not knowing where to love each other or how to love each other.

A film review is such a thing, full of over-explained personal opinion, full of dogmatism and prejudice. But can they by themselves establish/describe a reality?

FIN.