Jean-luc Godard Histoire(s) du Cinema 3(b) A New Wave

Voila chapter 3(b) of Jean-Luc Godard's Histoire(s) du Cinema --- Un Nouvelle Vague (A New Wave)
This continues from:
http://jdcopp.blogspot.com/2006/11/jean-luc-godard-histoires-monnaie.html

Note: "The River" is the film from 1929 directed by Frank Borzage

The text in italics is in English in the original. It is roughly a quote from Shakespeare's King Lear.

.
.
Introduction
to
a
veritable
history
of cinema
the only
the true
Chapter 3(a)
A
New
Wave
for
Frederic C
Froeschel
for
Nahum
Klieman
.

.
Monsieur
have you any knowledge
of the ten historic propositions
of the old testament
no
Scholem's text contends
that a tradition exists
regarding the truth
and that the tradition is communicable
I laugh
for the truth which is questioned here
by us
has all manner of attributes
but certainly not one
of being communicable
then what are you talking about
I do not see
you say it very well
I do not see
and nevertheless I have seen it
no
understood
yes, I will say that
meanwhile
in all the countries in which there are men
who fight
for a society
where one will not be enslaved
by money
you can not understand that, you
one does not live to earn money
if, listening to you
I begin to understand it
but from that point
where it would be
an obsession
you never think of something else
of love
no, never
perspective was the original sin
of western painting
Niepce and Lumiere
were its redeemers
and when I admire a film
they say to me
yes it is very beautiful
but it is not cinema
I then asked myself
what is it
I come to eliminate nothing
but to perfect
on the contrary
you can not serve
equally god
and money
when you give alms then
your left hand does not know
what your right hand is doing
so that your alms thus
remain secret
and your father
who always
sees your secret deeds
would know to repay you for it
and you will be judged
as you judge others
that it will be granted to you
to enforce justice
in complete equity
for it is with the measure
that you are going use to measure
that you will be measured
here this ought to be
the daily prayer
but come help me, good Lord
le grisbi
oh return to the native country
oh return of the one
who no longer needs
to be a guest
oh when thus
was the end going to emerge
where
was it going to appear
when
was the curse
going to be broken
and was their a last degree
in the amplification
of silence
it seems to the individual
yes
but how much
how much sobbing
for the air of a guitar
but evil exists still
the voice of man
blended into the fabric of the universe
provides
no answer
it seemed
almost
that there ought not to be any answer
before the day
as if everything, anew
was only an expectation
an expectation of the daystar
as if no longer next to this
anything else
was legitimate
it was because for one last time
night summoned its powers
to conquer the light
but it will be from the back
that the light is going to strike the night
and at first, very gently
as if it did not wish to alarm it
the whispering
that man has noticed
a long time ago
o so long ago
well before man existed
the whispering
recommences
the last lesson
of Fernand Braudel
he spun no yarns
as Etienne Jules Marey
had asked him
the holy man picked up the trail
and took the measure of
the identity of France
the identity of cinema
the identity
of the new wave
one night
we went over
to Henri Langlois'
and then
there was the light
it's that, right?
the true cinema
was even for our provincial eyes not
the face of Madame Arnoux
in the dreams
of Frederic Moreau
cinema, we knew it
by Canudo
by Delluc
but without ever having seen it
it had no relationship
with the films of saturday
those of the Vox, the Palace, the Miramar
the Varietes
for those films were
for everyone
not for us
save for us
since the true cinema
was the one that could not be seen
was only that one
it was, it was
Mary Duncan
wasn’t it
Jean George Auriol
but one would never see
The River
and we had to like it
blindly
and inside out
idem
for the crowds in October
and for those in Que Viva Mexico
isn't that right
Jay Leyda
idem
for the streetcars
in Sunrise
isn’t that right
Lotte Eisner
because forgotten already
proscribed still
invisible always
such was our cinema
and this remains for me
and Langlois confirmed it for us
his exact words
the image is first off of the order of redemption
attention, that of the real
thus we were, more
dazzled than than El Greco in Italy
and Goya in Italy
and Picasso before Goya
we were, without a past
and the man of the Avenue de Messine
gave us the gift of a past
metamorphosed into the present
in the depths of Indochina
in the depths of Algeria
and when he screened L’Espoir
for the first time
it was not the Spanish Civil War
that jolted us
it was the brotherhood of metaphors
she’s gone for ever
I know
when one is dead
and when
one lives
lend me a looking-glass
our only error then was to believe
that it was a beginning
that Stroheim had not been
murdered
that Vigo had not been
covered with mud
that the four hundred blows would continue
when they would flag
and thirty years later
it had to be admitted
that if the will had been beaten
it had to be admitted
that this had to be
because this was not through will
but through weakness
and maybe, right?
it rest for me
to know at last
that the force of weak interaction
the fourth wall of the house of the world
according to the physicists
that this weak force
is also that of art
and of its babe in arms
cinematography
what is this museum
of T-shirts
new wave, Audrey
new wave
and Daumier, what relationship with the new wave
we’re closing
we’re closing, children
you can ask a guard
does this please you
yes, there are some interesting things
I am not of that mind
you see with no end photos of works
but none of people
it was that, the new wave
the politique des auteurs
by the auteurs
the works
your friend is right, miss
first the works
then the men
Thus you haven’t any heart, mister
you can film work
miss, not hearts
I don’t know, its the time of the unemployed
mister
and so who is without work
miss
it is time which has
too many hands
and not enough heart
yes, a time without heart
but not without work
when an epoque is sick
and has no work
for all hands
it is a new exhortation
that is addressed to us
the exhortation
to work with our hearts
in place of
working with our hands
and I do not know the epoque
not yet
which had employment
for all hearts
nevertheless
Becker
Rossellini
Melville
Franju
Jacques Demy
Truffaut
you knew them
yes, these were my friends







http://jdcopp.blogspot.com/2006/12/jean-luc-godard-control-of-universe.html