From 1968 to 1973, [Jean-Luc Godard] stated repeatedly that he was working collectively. He was never tied to a party or a Maoist group, although the politics evidenced in his films seem loosely “Maoist.” For about three years he drastically reduced the technical complexity and expense of his filming, lab work, compositions, and sound mix. Partly he wanted to demonstrate that anyone could and should make films. He did not concern himself with creating a parallel distribution circuit. He said most political films were badly made, so the contemporary political filmmakers had a twofold task. They had to find new connections, new relations between sound and image. And they should use film as a blackboard on which to write analyses of socio-economic situations. Godard rejected films, especially political ones, based on feeling. People, he said, had to be led to analyze their place in history.~ Julia Lesage in Godard and Gorin’s left politics, 1967-1972*
1972: Jean-Luc speaks on intellectuals making films for the oppressed…
There is a trap, however, for contemporary would-be revolutionaries (filmmakers or otherwise) to borrow from the past what should be left in the past. The struggles of the 1960s (the period from 1956 to 1974) are inspiring and worth studying, but today’s struggles must be dealt with directly and not through a process of memory and hagiography. Today’s issues require their own terms. On the other hand, it is worth noting that (probably) all revolutions/reformations start from a re-examination and re-interpretation of the past – in particular the primary documents of the past.
In 1972 Godard had just completed Tout va bien. The interview above was made in relation to the film. Here is the “supermarket scene” from the film:
*From Jump Cut, no. 28, April 1983, pp. 51-58 copyright Jump Cut: A Review of Contemporary Media, 1983, 200. This is a great article on Godard’s movement from his Nouvelle Vague and more popular period of 1960-1968 to his more overtly political and less popular (but maybe more interesting) period of 1968-1973. Note: Julia Lesage was my thesis committee chair for my MA.