Word: capitalists
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Dates: during 1960-1969
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People in Cuba talk about "work" in the pre-revolutionary capitalist system as Marx did in his Philosophical and Economic Manuscripts. They view man in a passive role, used like any other tool. They believe that, in a capitalist system, man has no intrinsic interest in either the process of production or the product itself because it is being produced not for society but rather for the profit of the owner of the means of production which the worker uses...
THROUGHOUT the film the girl espouses a true belief in the capitalist west. "I am Maddy Ross from Yellow country--my family has property so I don't see why you are mishandling me," she says when she falls into the hands of an outlaw band. (Like every other utterance she makes this emerges as what can only be described as cultivated Indian--speech entirely devoid of conjunctions and intonation.) She is cold and resistant to Campbell's obvious sexual interest in her until Campbell is safely dead, at which point she strokes his hair, thus demonstrating her felling...
...development in East-West relations. It will become the first Communist capital ever to play host to an American President. The Rumanian capital is already busy getting ready for the 20-hour state visit. The Rumanian army band must learn to play The Star-Spangled Banner, a notoriously difficult capitalist number...
...flowing colors, soaring music, and a hero whose journey through this setting is the motive and organizing force of the drama (method). Individual alienation becomes the method of Breathless through a hero who conducts a very detached investigation of his surroundings. Weekend's subject is general alienation in a capitalist society, and its method is to follow characters through a bourgeois countryside. But these characters, being alienated themselves, have no serious moral responses to the terrible events they see. Consequently the film's meaning depends on the audience's reaction to these events and their condemnation of the characters...
Bourgeois society, having destroyed their sensibilities, must also be blamed for destroying a cinema whose method and meaning depended on those sensibilities. The violent attacks on the audience through presenting raw events, the meaninglessness of characters' actions, the blatant anti-capitalist propoganda of Weekend do not show Godard committing cinematic suicide. His integration of subject matter and approach demand this treatment. To critics who see Weekend as the end of the line, one must mention Les Carabiniers, a film that uses moral imbeciles in just the same way to attack war. Its events are as senseless and brutal; its plot...