Histoire(s) du Cinéma: Deadly Beauty (EOTWS)

Histoire(s) du Cinéma x8 extract: Deadly Beauty (1997)



Part three bleeds into part four with Godard's continued look at women in the cinema. 
The humanity of men can often be found--can be best found--through women, after that, children (which is not to suggest that all men always treat women or children correctly). Nonetheless, if this is true, do men inherently dehumanise women? My answer: of course not. Godard expresses the former idea, but seemingly assumes a cynical stance with his incoherent critique of men. However, he doesn't seem too interested in women, rather, what men do with cinema and how it is 'dehumanised'. To humanise cinema Godard seemingly suggest that the immaterial and transcendent must be put front and centre, his formal approaching implying that this must be done though alienation. 
Maybe I could indulge these ideas if Godard showed any understanding of transcendent cinema - that of Dreyer, Bresson, Tarkovsky, Bergman, etc. - in his works.

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