Masculin Féminin (Masculin Féminin) is a film by Jean-Luc Godard in 1965 and released in 1966. The film is adapted to some extent from two short stories by Maupassant, namely "La Femme de Paul" (La Femme de Paul) and "Le Signe" (Le Signe). traces are very thin. "Men and Women" has five main characters, namely Paul, Paul's friend Robert, Madeleine, Madeleine's friend Catalina and Elizabeth. Among them, Paul and Robert, who are also communists, are keen to talk about politics and sex; Paul is in love with pop singer Madeleine, and Caterina has a crush on Paul, but Madeleine seems to only care about herself; Elizabeth's role Not much, but Maupassant's "Paul's Girlfriend" also hints that Elizabeth and Madeleine had some sort of gay relationship. The three female characters also like to talk about love, but have little interest in politics. In an interview, Godard said that Men and Women can be described as a "pretty forward-looking survey." With a strong cinematic language, the film investigates the ideas of young men and women in France in 1965, from pop culture and sex to Vietnam, politics, consumer society and more. In discussing the film's camera movement, Louis Giannetti pointed out that the use of medium and long shots in the film reveals a theme of "Male and Feminine", namely "the twin of subjectivity and objectivity. "twin dangers of subjectivity and objectivity". But beyond technology, the film "Men and Women" presents more complex contradictions. Somewhere in Men and Women, Godard uses an inter-act title that says "Actually this movie could be titled 'Children of Marx and Coca-Cola'" (LES ENFANTS DE MARX ET DE COCA-COLA). This is Godard's conclusive reference to the younger generation after the filming. It is undoubtedly a key word in the turbulent 1960s, revealing the simmering ruptures and becoming a social landscape of the 1960s in France. Allegory/Prophecy. 1. The social landscape fable "Men and Women" was filmed in the winter of 1965. It was also in December 1965 that France would elect the president directly by the people for the first time. As Godard said in the film's promotional essay, "In Paris in the winter of 1965, I found myself alone in two rounds of elections." At this time, Godard received the task of shooting this film, and then keenly captured a certain division of young French men and women at that time. During the filming of the film, Godard just celebrated his 35th birthday. He said that he was caught in the middle of the old and new generations at a loss, so this film is also his attempt to bond the two generations. Godard once famously said: "The problem is not how to make a political film, but how to make a film politically." The political expressions in "Men and Women" are everywhere. A true representation of the sixties. This "Men and Women" with strong prose characteristics takes both presentation and narration into account, transcending realism and having a "real film" (cinéma vérité) style. The truth that belongs to France in 1965 is, as Godard experienced firsthand, a rupture. The film opens with the eerie sound of gunfire, which Godard uses several times throughout the film as a punctuation mark for the clip. The first shot is a close-up of the horizontal line of sight facing the protagonist Paul. In the shot, Paul is reading and writing some existential words in a cafe. Then switch to a panoramic shot, Madeleine comes in. Paul was almost pushed out of the frame as Madeleine took her seat. In her seat, Madeleine looked in the mirror, then flipped through a magazine, while Paul recognized her and talked about finding a job. With the camera pushed and set in front of Madeleine. The two introduced themselves to each other. Madeleine is a debut singer, is recording, and Paul is not long out of the army. In his description, military life has no joy, no love, no money, and more importantly, these rough 16 months "In other words, modern In life, one has to obey the authorities 24 hours a day. Young people in France face authority and gain only a little freedom. This is really a humiliating life. The military organization is the same as the industrial organization. The ethics of money is the ethics of order.” Madeleine commented: "It doesn't sound like it at all. So are you feeling lost now?" Paul replied: "Not very lost either, but I want to change." This opening puts the question in a powerful way from the start Take center stage. More subtly, when Paul was describing the poor working and living conditions of the workers, the camera did not cut to Paul, but continued to focus on Madeleine, while Madeleine just listened nonchalantly, her eyes wandering. , fiddling with her hair from time to time, Paul's presence is only a voice outside the screen. This offbeat front-to-back shot cleverly creates a dilemma for the audience: listen to Paul or watch Madeleine? To listen to the editorial of a Marxist youth or to see the beauty of a pop diva? The rupture presented in the film begins here. Just as Madeleine perfunctoryly ends Paul's talk, the picture switches to a panoramic shot, centering on a quarrelsome couple in a cafe, and then the man forcibly takes the child away, while the woman chases out the door and shoots him. The man immediately ended the paragraph with the sound of gunfire. It's a hint at the relationship between Paul and Madeleine, alluding to the struggles of communication between men and women, and at the end of the film Paul dies, allegedly by falling from a building. The second paragraph of the film is equally meaningful. In this passage, Paul's friend Robert appears. Robert works at the factory, and the union recently went on strike to protest the government's restrictions on free speech and demand the release of prisoners. Robert let Paul in The petition was signed, at which point Godard inserted a caption that read "THOSE THINGS THAT HUMAIN LABOUR RAKES FROM THE DEAD" (LE TRAVAIL HUMAIN RESSUSCITE LES CHOSES D'ENTRE LES MORTS), while Robert asked Paul At the current wage level, Paul answered sixty, while Robert said "not bad, but not worth abandoning the revolution" to which Paul replied "yes, I understand, I understand." Needless to say, the insertion of subtitles is typical Godard style. Formally, with this kind of subtitles, Godard breaks right into the picture. More importantly, Godard's subtitles, as an ideographic practice, are like a propaganda poster, which directly supports the workers' strike and criticizes capitalism on the screen. Also in 1965, de Gaulle bluntly criticized: "The United States enjoys the super privileges created by the dollar and the deficit without tears. She uses worthless waste paper to plunder the resources and factories of other nations." If de Gaulle's criticism can be seen as a commentary on Godard's wrath, then Godard is undoubtedly more profound and radical, in the words of Frederic Jameson (also translated Jameson): "Godard's films... ...the goal is no longer the traditional seizure of state power, but rather educational or informative demonstrations, such as 'to force the state to expose its fascist nature.'" While Bell was chatting (Paul said he had no interest in Madeleine yet), a passerby who looked to be in his thirties walked into the café to ask for directions. Afterwards, Paul imitated the passerby to ask for directions, and explained to Robert: "They say that if you want to understand a person, you become that person. I am proving that this is not the case." Paul's move is undoubtedly postmodern. Color, almost exactly what Leotard (Jean-Francois) Lyotard's so-called "doubt of metanarratives". He used the practice of his body to deny the pre-knowledge of interpersonal understanding, and the object of the denied understanding was their predecessor, who was also a seeker, a person who had lost his way. This is an important representation of a generational rupture, and is precisely presented in this casual detail by Godard. The ridicule of the previous generation, the skepticism of the previous generation's knowledge, and the denial of the previous generation's solution, this is the typical mental outlook of the French youth in the 1960s. Within the same generation, however, divisions are also evident. Although Godard's use of gender to present this layer of division is crude and even a bit stereotyped, it still has a certain universality. Paul met Madeleine because the two had a friend named Marcel, who had said Madeleine could help Paul find a job in a magazine. However, this Marcel never appeared in the film. Marcel is undoubtedly set up for the convenience of the plot, but this phantom bond just hints at a relationship between Paul and Madeleine that directly lacks actual grounding. It also means that even contemporaries are rife with a false connection. Paul in the film likes Bach and Mozart, but Madeleine said, "It's this kind of vulgar music again." Madeleine was concerned that her single reached number six on the Japanese charts. It's also the real biography of Chantal Goya, who plays Madeleine, although we don't know what Goya really thinks about classical music. But Madeleine, the character in the show, was dishonest, because when she came out of the studio after recording the music and gave a brief interview, the reporter asked her which singers she liked, and she answered the Beatles and Bach. . The difference in musical tastes between Paul and Madeleine is more than a taste difference, nor is Madeleine's inconsistent attitude more than just a taste swing. And Madeleine's self-deception is more representative of the illusion and delusion of the subject, because the connection between the subject and the object is already random and profuse; it is not so much elastic as it is a (post-)modern situation: everything is solid All things that are sacred will vanish, and all that is sacred will be desecrated. Godard himself actually prefers classical music, but he chose Goya, who is actually a pop singer, to play Madeleine, which is an amazing and wise decision from any point of view, because he perceives and grasps the popular the place of music in the sixties and distill it into the image of Madeleine. Adorno Adorno pointed out in "On Popular Music" published in 1941 that compared to serious classical music, popular music has the characteristics of standardization and pseudo-individuation, and it stimulates only passive consumption and mechanical repetition. As a pop singer, Madeleine can almost be regarded as a product of the consumer society, and her image, temperament, speech and demeanor all give the impression that she is flashy, even superficial and confused, and she does not care about her surroundings A changing society. The film records Madeleine recording the song, but during the recording, she is so absorbed that she is almost soulless, ignoring the presence of Paul. Paul looked extremely lonely. Madeleine's investment is of course her love for her singing career, however, her pop music is just a commodity in the consumer society, a number on the charts. Stepping out of the studio, she readily agreed with reporters to classify herself as "La Génération Pepsi." Madeleine actually misappropriated commercial marketing slogans as her own identity, and her degree of objectification has reached its peak, becoming a standardized and pseudo-personalized commodity object like the popular music she sings, becoming a fetishist. offerings. Godard also has several other works, such as "A woman is a woman" (Une Femme Est Une Femme, 1961), "Lai Huo" (Vivre Sa Vie, 1962), "What I Know About Her" (2 Ou 3 Choses Que Je Sais D' Elle, 1967), all featuring prostitutes. Jiao Xiongping pointed out: "Because women are objectified in the consumer society, Godard combined the exchange relationship between women, sex and money, and 'prostitutes' became an important theme of this period, and it was also Godard's reflection and criticism of material society. "In "Men and Women", there are also scenes of prostitutes pimping in the film, which shows his consistent concern for the objectification of women, and Madeleine, a pop singer, also concentrated on Godard's critical eyes. The climax of "Men and Women," though, is undoubtedly Paul's interview with a beauty pageant winner, Elsa, an acquaintance of Madeleine. This interview focuses on specific issues such as politics, sex, and popular culture, and focuses on revealing social conditions that cannot be ignored, such as the division between men and women, and the objectification of women by consumerism. This interview can be said to be a documentary clip, because the interviewee is a real 1965 beauty pageant champion (titled "Miss 19" in the film, while the real title is "Mademoiselle Age Tendre"). Godard titled the scene "A Dialogue with a Consumer Product" (DIALOGUE AVEC UN PRODUIT DE COMSOMMATION), hit the nail on the head from the start of the interview. The entire interview was very bold and directly completed with a combination of fixed close-ups and extended shots, one shot to the end, which lasted nearly seven minutes. Only Elsa is on camera, while Paul poses various interview questions in voiceover. What's also interesting is the composition of this long shot: Elsa is backlit in the middle of the window sill, the framing frame frames the window, and the window well frames Elsa's body, while the view from the window shows that they are high up. The interview shots are all this geometric composition from beginning to end, full of oppression, like a towering prison tower. Facing the many current affairs and political issues that Paul keeps throwing out, Elsa also appears helpless and embarrassed like a tortured prisoner. Paul asked a lot of ideological questions, such as "Do you think socialism has a future?", "How is the American way of life different from socialism?" "What do you think about the word 'reactionary'?" "Understand The People's Front?" "Do you know anything about contraception?", "Do you know where the war is going on in the world right now?" Elsa, who loves American life, can't do anything about these kinds of questions, she can only evade and complain, "This is a What questions, I can't answer.", "Why are these questions!", "I have no interest in where there is war!" It is true that interviewing the beauty pageant champion, these questions are obviously unreasonable. But it is precisely this real interview that reflects the outlook on life, values and, more importantly, a division of young French men and women. Godard mercilessly exposed the fact that beauty pageant winner Elsa was reduced to a tragic "consumer product", she/it was trapped in the "iron cage" of consumerism and in the "panorama" of consumer society. in prison". Godard's observations and criticisms are profound. But there's also a scene that hints at what Godard expects from the young, albeit with a strong dark humour. On their way to the studio to find Madeleine, Paul and Katerina meet a man who borrows fire. Paul gave him the whole box of matches, but the man didn't seem to want to return it, his face sullen. The man took a can from the car and walked to the right of the camera before Paul chased after him to find he was setting himself on fire to protest the Vietnam War. "Borrowing fire" is meaningful. It is absurd for a man to set himself on fire without fire; but Paul has the fire—invisibly, the leftist young Paul incarnates Prometheus, whom Marx loves. In other words, a young man like Paul is the light and force of social change, but he is not mature enough, not strong enough, and even a little ridiculous. Marshall Berman Berman defines modernism this way: "All attempts by modern men and women to become modern objects and subjects, to take the modern world and make it their own home." Paul, Madeleine and their friends are no doubt in line with them However, their attempts are not necessarily successful. Even in Paul's eyes, modern life is boring and lacks freedom and beauty. France was a center of global turmoil in the 1960s, and in that era when Sartre's "right to say no" was widely used, "Men and Women" presents the occasion of subject, between subject and object, and the rupture within the subject. Undoubtedly a typical (post)modern landscape. They deny both the predecessor and the other, appearing to be self-centered, but in fact, even the self has been cancelled, so they are in trouble. This crisis stems from the postmodern structural "schizophrenia" and its "break of the ideographic chain".
2. A preview of subversion When the storm began in May 1968, Roland Barthes said in support of the student movement: "If we can't subvert the social order, then let us subvert the language order." Godard is the founder of the new wave. One, showing a strong conscious awareness of precociousness, one of which is his Barth-style subversion of the classic film language. He uses a lot of jumping, omission, collage, nesting, and shallow scene scheduling in the film, and the use of sound effects, lighting, etc. is also greatly transformed. He was criticized at the time for being too anti-traditional. However, Godard's reformation of film language was so profound that Henri Langlois, founder of the French Film Archive, wrote in the preface to Georges Sadoul's History of World Cinema It is believed that films can be divided into "before Godard" and "after Godard". Godard was a self-proclaimed "essayist" and said "movie is the world of fragments". "Men and Women" interrupts the classic plot narrative by inserting large subtitles, omissions, dislocation of audio and video, jumping shots, and using real interviews. Gianetti pointed out: "Traditionally, there are three types of films: experimental films, feature films, and documentaries. Godard created the fourth type. In a sense, his film essays are the three types of traditional films. A combination of individuality, plus some 'little tricks' that he likes to enhance the effect." "Men and Women" uses a wealth of medium shots, long shots, close-ups and long shots, and they are basically horizontal line of sight, angle It's very small, and the sound often moves in and out of the picture. As a result, the boundaries between subjective-objective and subject-object are constantly being drawn and erased. While Paul is undoubtedly the central character of Men and Women, the film's narrator is also multivalent, and Paul isn't the only one watching. Madeleine is also sometimes tasked with watching, as in the restaurant scene, where she gazes at the next table by Brigitte Bardot. Bardot), and this peerless beauty symbolizes "one of the most expensive bodies in the world", a luxury of desire; there is also an interview-like conversation between Robert and Caterina. Several characters have done first-person narration or monologue. In addition to the point of view of the characters in the play, Godard's eyes are even more vivid, especially in the subtitles he inserts from time to time. The subtitle of "Men and Women" is deliberately written as "15 clear facts", but the film simply cannot accurately segment the 15 events. In order to further strengthen this trick, Godard sometimes labels the scenes in sequence, sometimes not consecutively; sometimes he will type "4/A", pretending to be precise. In fact, Godard was deliberately opposed to "the audience who expects simplicity and neatness". Godard was deeply impressed by the German playwright Bertolt Brecht, and film and television culture scholar Colin MacCabe pointed out: "At every stage of Godard's creation, Brecht was always the One of the artists he constantly refers to, cites.” Rather than planning a coherent narrative, Godard uses this deceptive subtitle to reinforce the effect of alienation. Godard was familiar with Brecht's "distancing" method, which he pursued "to distance the audience from the plot, characters and emotions", so that the audience is not completely attracted by the plot, and induces them to "rationally evaluate what they see." The thought meaning of the things that arrive." It is worth noting that the title of the film is "Masculin Féminin", there is not only no connective "et", but also no punctuation marks between the two words (a lot of related articles have made mistakes on this point). This may mean that the male-female relationship here is neither A purely "male-female" juxtaposition is not a "male/female" antagonistic relationship, but a modified relationship that enjoys grammatical immunity, and in the rhetorical features of French, not only can it be regarded as "male" female”, referring to the myth about the rib in Genesis, it can also be regarded as “female male”, and even a relationship between first and last name—male·female—referring to the earth goddess Gaia. But with this At the same time, the deep estrangement between men and women in the film has turned into questioning and irony. Perhaps, the words Masculin and Féminin have long been broken, just as Godard did not use intervening symbols to connect them. Madeleine is not an Eve made of ribs, but a product of capitalism; Catalina is, in a way, a metaphor for Lilith. Catalina seems to have violent tendencies. , because she was blankly playing with the guillotine toy in front of Paul. It is clearly seen in the movie that the tortured is a male doll, and Katerina put the guillotine three times in a row, and finally cut off the doll's head. Katrina Na's Lilith temperament is also reflected in her opposite scene with Robert. Robert wants to pursue Katarina and ask her about her emotional life, but Katarina keeps responding to him with "It's not about you". In this scene Katarina of the plaid dress is wearing a plaid skirt and has been eating apples. This apple-eating iceberg beauty is easily reminiscent of Lilith, the "snake" of the Garden of Eden. She is a seducer, a producer (Earth Goddess), and more Destroyer. She has the urge and power to overthrow male authority, standing on the opposite side of Madeleine and others. As mentioned above, Godard believes that this film can actually be counted as an investigation for young men and women, in other words, The film itself has the characteristics of a documentary and a real image. Then, Godard seems to "can't wait" to speak through the subtitles, and by reminding the audience of the existence of the camera and the director, this sense of reality is strengthened, but it seems to be related to a kind of "objectivity". In fact, in "Men and Women", the characters are even the actors themselves. Godard said in the interview that the actors "do in the daytime and what they do in the film are not different, they are exactly the same. . "Godard also just made the film with an idea, and did not write the script in advance, but improvised dialogue with the actors during filming. (Source) That is to say, on the one hand, the actors "are excellent GO HOME). In one chat, Paul joked with an obscene gesture that simulates sexual intercourse, only to say, "I don't know why I'm laughing; I actually feel sad." Robert said, "You know, the word masculin is masque and cul. make up” (i.e. male equals mask and ass/jerk), while Paul agrees with a laugh and asks “what about féminin?” Robert replies with another pun “nothing” (il ya rien). Robert's deconstruction of "masculin" and "féminin" is startling. He playfully dismantled the male, revealing its hypocritical and chaotic veil, and believed that the female could not be dismantled because it was empty and empty. In other words, men who pride themselves on being political animals are actually nothing more than liars and bastards; women are even more superficial and nihilistic. Paul is deeply shocked, and the scene ends with a jaw-dropping close-up of Paul. Immediately, Godard typed out the subtitles, which read "LA REPUTE N'EST PAS DE CE MOND" (LA REPUTE N'EST PAS DE CE MOND), and then changed his style and continued: "But every ten years, there will be another flash." (TOUS LES DIX ANS, IL YA SA LUEUR, SON ECLAIR). Perhaps Godard was more optimistic than Robert, and today the "flash" he refers to can even loosely be considered a foreshadowing of the student movement of the late 1960s. There are several intertexts in the film, one of which is Caterina singing Truffaut's classic film "Jules et al." Jim) in which the heroine sings. Apparently Godard was paying homage to his friend Truffaut at the time, yet audiences are tempted to imagine this is an equally classic love story, and it's even easy to associate the title "Men and Women" with "Zu and Zhan". correspond. But when Godard unifies these remarkably realistic and contradictory characters under the name of "male and female" with no conjunctions or hyphens, he once again shatters the audience's expectations. More importantly, he invites the audience to recognize the individual narratives obscured by the simple and crude collective naming of "male and female", and to re-observe, re-write, and re-name the obscured things. Towards the end of the film, Paul gives a key monologue. The monologue, a summing up of his Marxist social observations, is philosophical: "From January to March, I've been doing research for pollsters: Why are vacuum cleaners not selling well? Do you like tubed cheese? Do you read a lot? Do you have bone health? Are you interested in poetry? What about winter sports? What do you think of short skirts? What would you do if you witnessed an accident? If your fiancée ran off with a black man , what will happen to you? Do you know there is a famine in India? Do you know what a communist is? For contraception, would you rather take the pill or use the IUD? Where do you live? How much do you earn a month? Why the upper class? Social women tend to be more aloof than working-class women? Did you know that Iraqis and Kurds are at war? "I've discovered little by little over the last few months that all these issues are far from reflecting the collective ethos, more Instead, it is deception and distortion. I often lose objectivity without realizing it, which often echoes an inevitable falsehood displayed by interviewees. So, invisibly I misled them and was misled by them. why? No doubt this is because polls and samples quickly forget their true purpose, the observation of behavior, and slyly substitute value judgments. I found that all the questions I asked conveyed an ideology, but it corresponded not to current social customs, but to yesterday, the past. So I have to be vigilant. I stumbled across a few random observations that became my guideline. "A philosopher is one who opposes opinion with conscience: to have conscience, one must be open to the world. To be faithful, one must act as if time did not exist. Those who truly understand life are wise." In this passage, The content of the shot is very loose, Paul basically exists in the form of a voiceover, and the picture is a constantly circulating Paris street scene - shops, cafes, streets, subways, people... Many of them can be See, pedestrians are looking at the hidden camera and the people behind the lens with strange eyes. This collage vividly restores Paul's possible experiences and experiences while doing the polls, and also highlights Paul's loneliness and confusion. This dialogue fully shows the conflict and rupture between subjectivity and objectivity, and this contradiction is even more the contradiction between subjects and between subjects and objects. As Susan Sontag pointed out: “The crisis of revealing language has become Godard’s primary motivation for directing films.” Paul continues to ask Socratic questions of the other, as well as his own existence and identity. However, he found painfully that the quality of life in modern life has become thinner and thinner, the other has become unbelievable, the truth is receding, the grand narrative has been denied, and the daily trivial has taken over. His language structure was breaking down, he was out of touch with modern life, he became nervous and nervous. The distance between the subject and the object is expanding, and the fracture is intensifying. After this scene, the film also turns to the last scene, Paul is dead, and Madeleine, who is pregnant, has dim eyes and is very confused. Godard inserted subtitles that read "FEMININ" (female), and these letters were taken out as "F____IN" (end), which not only informed the audience that the movie was over, but also pointed to Paul's previous split between men and women, reiterating women's It is equal to nothingness, and it is also equal to the torture of the disintegration of the subject in the postmodern society. Madeleine once asked Paul, "What is the center of your world?" Paul replied, "Love, I think." 'Myself'." The French philosopher Alain Badiou believed that love is arguably the smallest communism. In other words, it is a political philosophy in which two people share life experiences. This can explain why the communist youth Paul was so eager for love, because he was eager to develop and practice his philosophy of the subject in love, in order to resist an era of rupture. Yet Madeleine, as a commodity of late capitalism, was destined for serious conflict with Paul. Paul's attempt to build and run a "subject enclave" ended in his own death. "Men and Women" shows that in France's "glorious thirty years" after the war (Les Trente Glorieuses, 1945-1975), there are actually contradictions between men and women, between individuals and times. Godard's reinvention of the language of the camera subverts the classic film narratives that preceded him. In this light and shadow essay, he focused on the understanding and cognition of the political, economic, cultural and gender narratives of French youth in the 1960s. Although the film seductively suggests a simplistic division, male equals Paul equals Marx, and female equals Madeleine equals Coca-Cola, the "children of Marx and Coca-Cola" is their true shared identity. As Jameson emphasized: "Postmodernism is an important framework for describing the cultural landscape of the 1960s", in the postmodern context, this ambiguous common identity actually implies a severe identity crisis. 3. Conclusion Jameson pointed out: "Between the late 1950s and early 1960s, our culture has undergone a kind of radical change, a drastic change." When Truffaut's "The Four Hundred Strikes" (Les Quatre Cents Coups, 1959) The disorientation and rupture are clearly visible when Antoine, the runaway bad boy in the film, grows up to be the Paul of Men and Women (both characters are played by Jean-Pierre Léaud). . Paul in "Men and Women" dies unexpectedly at the end, leaving Madeleine and her newly conceived child even more bewildered, adding to the confusion and rupture. There is a view that Godard's 1967 "Chinese Girl" (La Chinoise) (Leod once again played a leftist Maoist youth) can be seen as a preview of next year's "May Storm"; Fracture crisis. Soon, in the real 1968, the crisis erupted through the student movement. The youth of late capitalist society demanded a new modernity: "the right to self-determination of the style of life", "the free play of the individual life of the masses and the multi-power and multi-opinion centers of a pluralistic society", "the demand for political capital" However, under the social appearance of economic prosperity and political stability, young people who are technically literate people are becoming more atomized, and under the combined effect of consumerism and deconstruction discourse, ideals and beliefs are gradually lost. ; and the state machine did not respond to this transformation in a timely and accurate manner, and the rupture turned into an internal explosion, bursting out of the historical surface. But when we compare the turbulence of the same era in the Third World, we have to agree that the "revolution" of the French youth "initiated not for bread, but for roses for the first time in human history" actually started from one The beginning is romanticized, with an obvious "aesthetic quality". Interestingly, throughout the 1960s, the French Academy of Sciences refused to include le parking meter (parking meter) from American English into French, but created le in the 1970s. The term parcmetre was quickly declared official. This example illustrates a kind of "schizophrenia" that France is reluctant to admit: people can use official discourse to verbally resist globalization, but ultimately submit to the logos of transnational capitalism; After the sexy performance, people still stand on the logical extension of the "cultural logic of late capitalism" and continue to be addicted, angry, confused, or anxious. After all, as early as the 1960s, French youth were happy to label themselves as the "Pepsi generation". In "Men and Women", the hidden division and rupture beneath the surface of love is undoubtedly a profound tragic prophecy, because in the end it is capitalism that wins. After all, those movements "did not touch the political and economic foundations of the established social system, nor did they touch their 'production relations'." Perhaps, this is something that the Pauls and Madeleines in Western society could not and would not do. And Godard "looks at his characters from a distance, judging them (for their vanity and mediocrity), at the same time with a secret sympathy, a fleeting tenderness." "Men and Women" reveals this The phenomenon of a rupture became a forewarning of the impending storm. And Godard still shot Film Socialisme (Film Socialisme, 2010) at the age of nearly 80, which can be said to be mourning and evoking the souls of the Pauls. Godard said in the series Histoire(s) du Cinéma (1988-98) that his films were made fifty years later. "Men and Women" is approaching its 50th anniversary, and no matter how self-appreciated the film is on a narrative level, its artistic means and political connotations are very clear. Looking back half a century later, Godard's masterpiece is not only a prophecy of the year, but also a national fable from another country. In addition to Godard's generous omissions and collages, "Men and Women" still meaningfully becomes an object of reference for China in the postmodern context. Cinéma, 1988-98) series once said that his film was made fifty years later. "Men and Women" is approaching its 50th anniversary, and no matter how self-appreciated the film is on a narrative level, its artistic means and political connotations are very clear. Looking back half a century later, Godard's masterpiece is not only a prophecy of the year, but also a national fable from another country. In addition to Godard's generous omissions and collages, "Men and Women" still meaningfully becomes an object of reference for China in the postmodern context. Cinéma, 1988-98) series once said that his film was made fifty years later. "Men and Women" is approaching its 50th anniversary, and no matter how self-appreciated the film is on a narrative level, its artistic means and political connotations are very clear. Looking back half a century later, Godard's masterpiece is not only a prophecy of the year, but also a national fable from another country. In addition to Godard's generous omissions and collages, "Men and Women" still meaningfully becomes an object of reference for China in the postmodern context.
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