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Text of the page (random words):
ealm of the shades the jurors and our gray world below is already full of half lived lives yet here we have no plows for sinewy arms or hungry mouths of which up there you have so many what but dust could we heap upon the 80 000 slaughtered ones and you up there need houses how often shall we meet them on our paths that lead nowhere and hear them asking their eager terrible questions what the summer of years is like and the autumn and the winter the speaker and the legionaries on the frieze of the dead move and cry out the legionaries yes send him to nothingness what province tips the scales against our unlived years that held so much the speaker and the slaves haulers of the frieze move and cry out the slaves yes to nothingness how long will they sit he and his inhuman kind over men and lift lazy hands and hurl the peoples into bloody wars against each other how long shall we endure them and our kind endure them all yes to nothingness with him and all his kind the speaker and from high bench rise the spokesman of a posterity many handed for taking many mouthed for eating eagerly reaping rejoicing in life the condemnation of lucullus die verurteilung des lukullus 1951 libretto bertolt brecht and paul dessau people s health tribunal san miguel ixtahuacán guatemala against goldcorp inc we are in a period where the ghost of morality rules in this period the atomic bomb made more victims than the revolution of 1917 the pres ervation of this society such as it is yesterday in attempts at fascist pres ervation today in a bid for american preservation this preservation alone costs much more in blood in men and in freedom than the establish ment of a new world why hesitate elio vittorini 1946 this dedication to danièle huillet is also in memory of filmmaker and editor patrícia saramago 1975 2025 who suddenly passed away last october among the many films she gave her all to it must be said that without her work as an editor there would be no where lies yours hidden smile où gît votre sourire enfoui 2001 pedro costa the best film ever made about editing godard it was patrícia who solved the film s inherent technical nigh existential problems and did the grueling work of its impossible synchronization and formal unity thus we have not only the straubs behavior their rapport their parting and rejoining amplified but also the operation of the montage magnified the film material and evidence on the moviola screen as they cut a new version of sicilia down to decisive half frames all as a colossal and infinitesimal one pedro costa has said patrícia saved the film and this is how he reverentially introduced me to patrícia 16 years ago in lisbon in the old optec office on rua 1 de dezembro she did the one yes that one as he stepped aside to give me plenty of space to bow and kiss her in the weeks before her death i worked closely with patrícia on the english subtitles of her first film as a director dois e um gato two and a cat which will premiere in lisbon on may 3rd 2026 she not only finished this film just before departing she made a bold contemporary film a vigorous and uneasy balancing act of heavy and light tones humor and indignation about housing problems and living conditions a young couple and a cat struggling to live together in a tiny room in lisbon from which they re about to be evicted a film made with all the youth outrage and love of a young first time director and all the precision and formal strength of an artisan who worked her craft as an editor for 25 years nothing terminal about it in fact the opposite a ripe confection against everything everything one must be against out f rom under the casual inhumanity of landlords and bosses pregnant with the absurdity of current property relations a pastel opening of freedom patrícia gone seven days shy of your 50th birthday we will miss you past may day dedications on kino slang 2007 examine caesars 2008 song of two humans but 2009 this land is mine 2010 men without women 2011 freedom 2012 small grasses 2013 that s just what we intend 2014 the lizards 2015 no post misery 2016 complete animals 2017 huillet at work interview 2017 venez m aider plus duras on othon 2018 straub huillet talking interview 2019 born may 1st 2020 we caught a political conscience like one catches chickenpox 2021 may night 2022 progress away from the bulk of humanity 2023 dialectical at every second unpublished interview with straub huillet by j hughes b krohn 1975 2024 no appeasement palestine eyes do not want to close at all times 2025 y ou must not think to fob off our disgrace with a tale 12 30 am 1 comment august 21 2025 a sympathetic worker by roland barthes los angeles plays itself 2003 thom andersen for 41 years a sympathetic worker roland barthes critique of elia kazan s on the waterfront 1954 was excised from all english language editions of his mythologies 1957 the article only became available in 2013 as part of a new translation reproduced below by richard howard in a collection called mythologies the complete edition hill and wang as if it were marginalia for completists the omission of a sympathetic worker from all prior english editions of mythologies is likely far from accident and continues to be richard brody s review of the complete edition in the new yorker also omits it but w as a rhetorically perfect piece of marxist and brechtian demystification as the late philip watts called a sympathetic worker something dangerous to anyone with optimism i d like to think it could ve been were it understood as our proper forewarning about the mystifications to come were it used as an effective tool against the overexposures of the next generation of american cinema s hegemons i e the new hollywoods influenced by kazan method acting the expansion of the economic domination of the star system through it faux direct cinema paul schrader endless individualist redemption themes american capitalism as eternal new christs scorsese weinstein etc etc in short there were those who worshipped on the waterfront and who duplicated and furthered its slavish naturalism and new outsider icons they would be understood as blatantly reactionary here for the barthes of the 1950s film criticism and marxism were still newlyweds on honeymoon this is suddenly clear in roland barthes cinema by phillip watts an essential film book from 2016 containing roughly nine previously untranslated articles along with commentary by watts of a combative didactic barthes tending to the cinema of his day and its problems cinemascope guitry s royal affairs in versailles chabrol s le beau serge new leftist criticism published in positif reaction etc at one point in roland barthes cinema watts quietly footnotes a shameless statement from kazan on his services rendered to reaction using essentially the same words that orson welles later used as pure denunciation to loudly definitively and irrevocably condemn kazan in front of a large audience at the cinémathèque française in 1981 in fact the footnote is from kazan s own autobiography when brando at the end yells at lee cobb the mob boss i m glad what i done you hear me glad what i done that was me saying with identical heat that i was glad i d testified as i had so when critics say that i put my story and my feelings on the screen to justify my informing to the house un american activities committee they are right kazan is less interesting than the fantastic phrase identical heat which he uses here if you are interested in cinema no need to check or re check his work as he s already been served to you in umpteenth dishes and regurgitations instead go see or see again abraham polonsky and john garfield s force of evil 1948 a real foil to on the waterfront s operatic dishonesty as lindsay anderson succinctly put it a sympathetic worker was originally published in 1955 in les lettres nouvelles under the title comment démystifier how to demystify and was re titled by barthes for mythologies important t hroughout the original essay barthes misspells kazan as cazan ar a sympathetic worker by roland barthes c azan s film on the waterfront is a good example of mystification it concerns as you doubtless know a handsome indolent slightly brutal longshoreman marlon brando whose consciousness is gradually awakened to love and to the church in the form of a shock priest spellman style since this awakening coincides with the elimination of a fraudulent and abusive union and appears to involve the longshoremen in resisting their exploiters some viewers have supposed we ve been shown a courageous film a leftist film determined to reveal the worker s problem to the american public actually we are dealing once again with that truth vaccine whose very modern mechanism i have indicated apropos of other american films a small gang of mobsters is made to symbolize the entire body of employers and once this minor disorder is acknowledged and dealt with like a trivial and disgraceful pustule the real problem is evaded is never even named and is thereby exorcised yet it is sufficient to describe objectively the roles in cazan s film to establish its mystifying power beyond a doubt the proletariat here is constituted by a group of weaklings submitting to a servitude they clearly recognize but lack the courage to shake off the capitalist state is identical with absolute justice and is the only possible recourse against the crime of exploitation if the worker can make contact with the state for instance by communicating with the police and its investigative agencies he is saved as for the church in its phony modernist guise it is merely a mediating power between the worker s constitutive poverty and the boss state s paternal power ultimately moreover this minor irritation of justice and conscience is soon resolved in the grand stability of a beneficent order in which the workers resume their labor the bosses fold their arms and the priests bless both sides in their manifestly just functions it is the ending however which betrays the film at the very moment when many supposed cazan had cunningly insinuated his progressivism in the very last sequence we see brando by a superhuman effort managing to present himself as a conscientious good worker to the boss waiting to meet with him now this boss is obviously a caricature and the audience murmurs see how cazan has managed to ridicule the capitalists here or nowhere is the occasion to apply the demystification method proposed by brecht and to examine the consequences of the attachment we feel for the film s main character it is obvious that brando is our positive hero to whom despite his faults the public gives its heart according to that participation phenomenon without which in general we are reluctant to consider any entertainment possible when this hero all the greater for having rediscovered his conscience and his courage exhausted injured yet still tenacious heads for the boss who will give him work our communion knows no bounds we identify ourselves totally and unhesitatingly with this new christ and participate unreservedly in his calvary yet brando s painful assumption actually conduces to the passive acknowledgment of the eternal boss what is orchestrated for us here despite all the caricatures is the restoration of order with brando with the longshoremen with all the workers of america we put ourselves with a sense of victory and relief back in the boss s hands which it serves no further purpose to portray as tainted we have long since been snared in a fatal communion with this longshoreman who discovers a sense of social justice only to bestow it as a homage to american capital as we see it is the participational nature of this scene which objectively makes it an episode of mystification trained to love brando from the start we can no longer at any point criticize him or even admit we are conscious of his objective stupidity now it is precisely against the danger of such mechanisms that brecht proposed his method of alienation brecht would have asked brando to show his naiveté to make us understand that despite all the sympathy we may feel for his misfortunes it is still more important that we see their causes and their remedies we can sum up cazan s mistake by saying that what should have been judged was much less the capitalist than brando himself for there is much more to expect from the rebellion of victims than from the caricature of their executioners the hollywood movie industry had become such a maze of interlocked labor unions that jurisdictional disputes were inevitable in september 1946 a jurisdictional dispute led to one of the most violent strikes in west coast history pickets numbered in the hundreds and frequently engaged in battles with the police during one of the bitterest of these cars were overturned and the officer above wounded a fellow deputy sheriff held the mob at gun point while rescuers removed the injured man u s camera 1947 photo frank filan 1 24 pm no comments may 1 2025 citizens care for us true indeed they ne er cared for us yet suffer us to famish and their storehouses crammed with grain make edicts for usury to support usurers repeal daily any wholesome act established against the rich and provide more piercing statutes daily to chain up and restrain the poor if the wars eat us not up they will and there s all the love they bear us menenius friend to noble roman coriolanus either you must confess yourselves wondrous malicious or be accus d of folly i shall tell you a pretty tale it may be you have heard it but since it serves my purpose i will venture to stale t a little more citizens well i ll hear it sir yet you must not think to fob off our disgrace with a tale but an t please you deliver menenius there was a time when all the body s members rebell d against the belly thus accus d it that only like a gulf did remain i the midst o the body idle and unactive still cupboarding the viand never bearing like labour with the rest where the other instruments did see and hear devise instruct walk feel and mutually participate did minister unto the appetite and affection common of the whole body the belly answered citizens well sir what answer made the belly menenius sir i shall tell you with a kind of smile which ne er came from the lungs but even thus for look you i may make the belly smile as well as speak it tauntingly replied to the discontented members the mutinous parts that envied his receipt even so most fitly as you malign our senators for that they are not such as you citizens your belly s answer what the kingly crowned head the vigilant eye the counsellor heart the arm our soldier our steed the leg the tongue our trumpeter with other muniments and petty helps in this our fabric if that they menenius what then fore me this fellow speaks what then what then citizens should by the cormorant belly be restrain d who is the sink o the body menenius well what then citizens the former agents if they did complain what ...