Word: intentions
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Dates: during 1960-1969
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Bresson is never quite as simple as his subjects would seem. Michel's belief that the two men who wish to "save" him are set upon trapping him and his near oblivion to the intent of the man who does put him in jail is a perfect reflection of the total situation. Attempting to damn himself by committing what he considers to be the lowest of actions, Michel ends up being trapped into salvation. Bresson thus transforms a simple story into a discussion of the power of man as opposed to that...
This is a key to the whole film. While apparently feeling constrained to show tradition and the recent westernization in close proximity, Marker carefully avoids cutting which would imply an ironic intent. No attempt is made to explain the westernization of Japan, nor is the modern seen as un-Japanese. Like Koumiko and the city, tradition and modernity exist within the same framework, and any effect that the one has upon the other is not readily discernible to the outsider. The outsider can merely present an image, which is nothing more than a concrete memory...
...hostilities. But the prospects for peace remained dim. All the efforts of the peacemakers, including the U.N. and the Big Four (the United States, the U.S.S.R., Britain and France), produced little progress. Neither Israel nor Egypt, the major antagonists, displayed any interest in compromise. On the contrary, both were intent on expanding the scale of their attacks. The pattern was clear: strike and counterstrike, with each major blow more vicious than the last...
...aspect of an immensely versatile personality. Some of his more visionary notions were industrial designs-an engine fueled by sunlight, a motorless dishwasher, an infra-red oven that would cook dinner at the table. The creation of beautiful objects per se was never his intent. "I don't like the word beauty," he often declared. "Utility and emotion and satisfaction, those are more important words." At one point, he even foresaw a day when paint and brushes would be discarded, though he conceded that easel painting did, after all, provide a platform for the play of ideas...
Vandenhaag: Intent is what you do know. Effect is what you do not know. You can't expect the artist to know about the effects...