Word: classed
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Dates: during 1970-1970
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Blachford then went on to say. "I think that the people who characterized the Peace Corps as an organization made up primarily of lily-white, middle-class people may have had a very valid point. But I think that has changed. We have a tremendous need for blacks and other minorities, particularly in places like Africa and Latin America...
...Wind from the East, co-written by Godard and Danny Cohn-Bendit, has three sections. The first is a kind of Third World Western in which we are presented with seven episodes in class war: strike, choosing of a delegate, the militating of active minorities, an assembly in which the composing of the rest of the film is discussed, repression, an active strike followed by the introduction of a police state. The second part is an extension of the ongoing criticisms of the first; the narrator says: "Okay, from a real movement you made a film...
Late in the film we see a close shot of Anne Wiazemsky, followed by a shot of her reflection in a mirror. The narrator is attempting to analyze photography as a class weapon, specifically the weapon of the bourgeoisie in its fight against the proletariat. Photography, it is claimed, serves two reactionary functions: first, it is used to identify class enemies, and second, it disguises the world. Replacing the novel and painting as paradigms of realistic portrayal, it re-establishes the idea of "mirroring " the world. Analysis of the world "mirrored" is substituted for analysis of objective conditions...
...identified (synchronous sound) are potentially, or in Godard's eyes, invariably, reactionary. They are more understandable, "easier" images, in the sense that information issues freely from them-we are accustomed to such images. But the sign system by which we read these images is an ideology of the class in power. Whenever a conscious formal design does not structure our reading of an image, we have fallen into "the ideology of real life" ( Gai Savoir ), i.e., the implicit ideology in the bourgeois way of seeing. The first step for the revolutionary moviemaker is, as Juliet Berto says in Savoir...
When I see, as I have seen since 1946, the potentially first-class men we have turned down for admission to Harvard-not just in terms of the "numbers," but in terms of character and creativity, and when I see the bright, well-educated, but relatively dull house-wives who attended the "Seven Sisters," I honestly shudder at the thought of changing the balance of males vs females at Harvard...