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Dear Jane,
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00:00:08,664 --> 00:00:11,565
In the advertising leaflet that
accompanies Tout va Bien
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at the festivals of Venice, Carthage,
New York and and San Francisco
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we prefer to put
a photo of you in Vietnam
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instead of stills from the film.
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We found the photo in an edition of
"L'Express" at the beginning of August 72,
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and we think she will allow us
speak very concretely
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00:00:29,908 --> 00:00:32,409
about the problems that were
presented in Tout va Bien.
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It is absolutely not
to divert the conversation,
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and not talk about Tout va Bien,
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as if we had
afraid to talk about this film.
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Absolutely.
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This is not a way of
mark history,
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like the troops of
puppet Thieu in Quang-tri,
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which eventually leads to
go over others
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00:00:49,735 --> 00:00:52,399
like howitzers
7th Fleet over Quang-tri.
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It is, therefore,
to take a walk,
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but yes, the expression is worth it,
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a straight roundup.
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That is,
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a return that will allow us
directly face
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the terrible little ones
problems that,
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one way or another,
the film we shot together
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at the beginning of this
year presents.
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And before you speak then
and in every way,
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of the qualities and
flaws of our film,
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we prefer to ask the critics,
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to journalists,
to spectators,
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may they be for good
make the effort with us
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to analyze this
your photo in Vietnam,
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which was taken a few months later
from the film we made in Paris.
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Indeed, this photo, and the
short text that accompanies it,
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seem capable of
summarize Tout va Bien
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better than
we would know how to do it.
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And that for a
raz�o muito simples.
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This photo answers the same
question that the film presents:
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What role should they play
Intellectuals in the Revolution?
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To this question,
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the photo gives a
practical answer
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the answer given
It's your practice.
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Essa foto mostra voc�,
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really you, Jane,
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in the service of Freedom
of the Vietnamese people.
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Tout va Bien too
answers this question,
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mas n�o do mesmo modo.
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Because, less certain than the
answers that the photo has to give,
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the film exposes first
other questions.
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And these arrive,
after all,
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not to present, as it is, the question
of Intellectuals and the Revolution.
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How to propose, then,
this question?
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The film has not yet
responds accurately.
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But the way because still
does not respond is, in fact,
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an indirect way of
propose new questions.
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Because there's no point in giving old things
answers to new questions
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presented by the current
development
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of Revolutionary struggles.
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It is necessary to learn, just like that,
to formulate these new questions.
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And learn from those who,
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although they don't have
had time to
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clearly formulate
these new questions,
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have already conquered the land where
will be able to flourish and expand,
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and conquered him
with a new practice.
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We told you that
the way in which still,
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00:03:03,270 --> 00:03:06,455
we don't truly respond
like the Vietnamese and you in this photo,
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It was an indirect way of
present new questions first.
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An indirect way.
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A deviated form.
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Now you can
understand why
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there is a need for a
'rodeo' before talking about the film.
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00:03:18,679 --> 00:03:21,321
And why would a
'rodeo' by Vietnam?
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First,
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because everyone is
agree that there
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questions arise
really new.
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And then because you
was with them
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after you have been with us.
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Hence, when looking at this photo of an actress
in the theater of military operations,
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ours came up
I want to question her.
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Not to question the
actress, and yes, the Photo.
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And for us, this
is equivalent to presenting
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00:03:45,784 --> 00:03:47,978
a certain number
of new questions
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It is the classic answer that
the Vietnamese and you
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00:03:51,128 --> 00:03:53,720
gave this celebrity
question from intellectuals,
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taking and
sharing this photo.
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Something also intervenes
more in our decision
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00:04:00,218 --> 00:04:04,325
to take advantage of this photo
take a tour of Vietnam.
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00:04:05,089 --> 00:04:07,880
This something more is ours
desire to do
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00:04:07,915 --> 00:04:10,806
a discussion of the film
with spectators,
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00:04:11,066 --> 00:04:12,810
whether or not they are journalists.
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00:04:13,578 --> 00:04:16,070
Everyone is their own
journalist and his own editor
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00:04:16,150 --> 00:04:19,240
depending on how
the activity develops
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00:04:19,290 --> 00:04:21,682
everyday life of each
person in a movie
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00:04:22,181 --> 00:04:24,673
placing yourself as
star of this film.
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And it is precisely this type of
self-protagonism system
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00:04:29,867 --> 00:04:31,163
what we want to talk about.
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To talk to the viewer.
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00:04:34,862 --> 00:04:37,651
But to do it,
we should give it a whirl.
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00:04:38,271 --> 00:04:40,663
Because, just as a
film is a kind of spin
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00:04:41,022 --> 00:04:42,816
that gives us back
ourselves
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00:04:43,335 --> 00:04:45,104
even so,
to go back to the movie,
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00:04:45,593 --> 00:04:48,534
we must carry out this
turning on ourselves.
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00:04:49,685 --> 00:04:51,989
And here, in the USA,
"ourselves" means,
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firstly,
still and always, Vietnam.
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00:04:55,275 --> 00:04:57,680
Let's explain this with
a little more amplitude.
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00:04:57,910 --> 00:05:00,245
We think it is
important and urgent to talk,
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00:05:00,445 --> 00:05:03,481
a little to those who gave themselves
the work of watching our film.
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This is where they are,
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and also where we are.
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Therefore, we must
act in a way
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that can
present questions,
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if you want,
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or give answers to
questions exposed by us.
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Viewers have
to be able to reflect.
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00:05:20,803 --> 00:05:23,408
And reflect, first of all,
in this problem
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of questions and answers.
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It is also necessary
that we can be,
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affected by the questions
of spectators
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(or answers)...
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and we can respond
(or question).
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with something other than
answers (or questions),
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00:05:36,572 --> 00:05:38,676
equally prefabricated
(or answers?).
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00:05:39,137 --> 00:05:42,894
But, prefabricated by whom?
For whom? Against whom?
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00:05:43,034 --> 00:05:45,539
That is, to introduce
a real possibility
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00:05:45,589 --> 00:05:47,993
Tout va Bien, discussion board
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00:05:48,053 --> 00:05:51,024
we will situate ourselves
outside Tout va Bien.
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To talk about this machine, let's
leave the factory that uses it.
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We will find our base
of discussion outside Cinema,
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but to come back later.
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00:06:04,183 --> 00:06:06,603
And when we return, we will leave
again with better step
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00:06:06,878 --> 00:06:09,753
towards real problems
of our true material life,
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00:06:09,884 --> 00:06:13,175
of which Cinema will not have
been but one of the elements.
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We will not let it, nor
abandon Tout va Bien.
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On the contrary, let's
leave it to go somewhere else,
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for example, to Vietnam,
since you come back from there.
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But, and this is the important thing, let's
with our own means.
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What means are these?
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00:06:32,044 --> 00:06:35,895
From our technical means of work
and the social use made of them
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(you in this photo, in Vietnam,
us with the film in Paris)...
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00:06:40,088 --> 00:06:43,560
and from this use, exactly,
we can judge better.
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And for once,
we will not be alone,
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the spectator
will also be there,
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producing at the same
time it consumes,
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and we will consume at the same
time in which we will produce.
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Maybe all of this
seems complicated to you.
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00:07:00,363 --> 00:07:01,933
As Vertov said to Lenin:
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00:07:02,706 --> 00:07:07,513
"The Truth is simple, but
It's not simple to tell the Truth."
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00:07:07,891 --> 00:07:12,068
And Uncle Vertov had discovered 5
difficulties in telling the Truth.
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Well. Let's explain
otherwise.
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Nowadays, it is often said
that Cinema must "serve the people".
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Very good.
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Instead of theorizing about the
defects and qualities of Tout va Bien,
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Let's head to Vietnam.
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But, let's go by and with the
means of Tout va Bien.
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Let's look, if
it can be said like this,
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like Tout va Bien
Vietnam "works".
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We may eventually be able to
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some conclusions
From this practical example,
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about things to do
and to avoid,
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for each of
us, where we are,
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00:07:46,813 --> 00:07:49,317
with his wife,
your boss, your children,
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your money,
your desires, etc.
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We will use
this photo to go
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to Vietnam to investigate
this question:
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How Cinema can help
Vietnamese gaining Independence?
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00:08:03,200 --> 00:08:05,703
And as we already said
several times, we
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we are not the only ones using
this photo to go to Vietnam.
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Thousands of people did it,
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00:08:13,349 --> 00:08:17,416
probably here almost
everyone has seen this photo,
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and, for some
seconds, it's your way
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00:08:20,524 --> 00:08:22,923
used it
to 'go to Vietnam'.
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Exactly, this is what we
We think it's important to know:
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How did each use
this photo to 'go to Vietnam',
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for real?; And how
did they 'go to Vietnam?'
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Because Dr. Kissinger too
goes to Vietnam several times a year.
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It's exactly a type like
the dr. Kissinger that
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ask us
the reason for this photo,
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and what relationship can there be
between this photo and Tout va Bien.
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He and his friends will say
that this is not serious,
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that we would do better
talking about film, art, etc.
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But the effort must be made to
see that these types of reflections
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contradict each other when
proposals in this way,
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00:09:04,404 --> 00:09:07,302
complicate everything and
obstruct the path
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to other questions
simpler
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00:09:10,220 --> 00:09:12,908
as can be said by
common people.
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00:09:13,548 --> 00:09:15,896
For example, before
say, "What relationship?"
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I need to ask first:
"Is there really a relationship"?
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00:09:19,643 --> 00:09:21,992
And then, it can be
ask what the relationship is.
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Having discovered what the relationship is,
we will find out a little later,
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that the relationship between our
Film and this Photography
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is in the problem
of Expression.
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And eventually we can
judge its importance,
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that is, establish
other relationships
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with other important questions
and other important answers.
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They will say that this is
nonsense, a bluff-bluff-bluff,
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but at the opposite end of this
new small chain of questions,
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the question of importance,
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what others call
practical result question,
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00:09:54,607 --> 00:09:57,344
appears as a
very important question.
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00:09:58,575 --> 00:10:01,169
And that's because the
North Vietnam/Vietcong
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00:10:01,766 --> 00:10:05,703
already answered the question about
the importance of this photo,
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when I managed to get it published in
all parts of the "free world"
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this same 'world
free' that holds him
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00:10:15,270 --> 00:10:17,908
thereby demonstrating the
importance I gave to this photo,
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00:10:18,373 --> 00:10:21,571
the importance it gave to
question of practical result,
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00:10:22,304 --> 00:10:25,853
the importance it gave to
question of what is important.
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00:10:26,847 --> 00:10:30,669
This photo is, therefore, an answer
practice that the North Vietnamese,
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00:10:31,274 --> 00:10:32,538
with your help, Jane,
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00:10:33,393 --> 00:10:35,996
decided to ask the famous question
what we do at the moment:
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00:10:36,125 --> 00:10:39,778
What role should the
Cinema in Revolutionary struggles?
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00:10:40,321 --> 00:10:45,036
In other words: What is the role
of Intellectuals in the Revolution?
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00:10:45,949 --> 00:10:48,554
To this question, which
photo gives a practical answer.
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00:10:49,202 --> 00:10:51,300
In the response of an entire people:
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00:10:51,475 --> 00:10:53,803
You take the photo and publish it,
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00:10:53,898 --> 00:10:56,596
and it's done this way
to have security,
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00:10:56,646 --> 00:10:58,881
and certainty that
it will be published,
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00:10:58,905 --> 00:11:00,744
both here and
elsewhere,
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00:11:00,774 --> 00:11:05,600
which is a fact, because, from
Otherwise, we would not have it.
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00:11:05,970 --> 00:11:08,250
Tout va Bien responds
to this question too.
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00:11:08,300 --> 00:11:10,560
But do it from somewhere else
and in a different way.
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00:11:14,030 --> 00:11:16,691
One way that
consists of saying:
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00:11:17,344 --> 00:11:20,176
Here where we are,
in France, in 1972,
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00:11:20,714 --> 00:11:23,493
ruled by allies
of the Americans and the Russians,
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00:11:24,140 --> 00:11:26,962
nothing is so clear,
nothing is so obvious...
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00:11:27,465 --> 00:11:30,227
We particularly remember
Fidel Castro, telling the UN that,
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00:11:30,596 --> 00:11:33,753
for the Revolutionaries,
there were never evident truths,
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00:11:34,386 --> 00:11:36,437
What was Imperialism?
who had invented them,
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00:11:37,007 --> 00:11:40,121
and that the Powers
served skillfully
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00:11:40,161 --> 00:11:42,873
self-evident truths
to oppress the weak.
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00:11:43,677 --> 00:11:48,594
And since nothing is evident, Jane,
let's keep asking questions,
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00:11:49,021 --> 00:11:51,999
but let us strive to
do them differently;
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00:11:52,476 --> 00:11:54,786
In a nutshell:
Let's ask new questions
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00:11:54,826 --> 00:11:57,036
to power
give new answers.
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00:11:57,699 --> 00:12:01,315
For example, let's look
like the Vietnamese
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00:12:01,355 --> 00:12:04,971
translate your combat
and let us ask questions,
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00:12:05,122 --> 00:12:07,372
since we too
we want to translate our struggle.
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00:12:07,992 --> 00:12:10,599
And firstly,
let's ask ourselves honestly
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00:12:11,030 --> 00:12:14,890
what is it that allows us to say
What are we really fighting for?
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00:12:15,906 --> 00:12:18,285
But maybe at that point,
you, Jane, ask us:
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00:12:18,917 --> 00:12:22,198
Why is this photo of me and not
one by Ramsey Clarke, for example?
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00:12:22,644 --> 00:12:25,457
He was also in Vietnam,
also testified
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00:12:25,492 --> 00:12:26,898
the bombing of dams.
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00:12:27,126 --> 00:12:29,375
It's simply you, Jane,
because of Tout va Bien,
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00:12:29,821 --> 00:12:33,641
and because the question in the film
It was the same as in this photo.
243
00:12:34,221 --> 00:12:35,426
You are an actress.
244
00:12:35,531 --> 00:12:38,820
Of course, we are all
actors in the theater of history,
245
00:12:39,521 --> 00:12:43,614
But beyond that, you
he makes Cinema and so do we.
246
00:12:44,528 --> 00:12:47,270
So, you might ask why
not Yves Montand in Chile?
247
00:12:47,303 --> 00:12:48,926
He was also
in the film. It's true.
248
00:12:49,696 --> 00:12:52,674
But it turns out that the
Chilean revolutionaries
249
00:12:53,450 --> 00:12:57,188
did not consider it appropriate
publish photos of Yves,
250
00:12:58,161 --> 00:13:00,761
while the
Vietnamese revolutionaries,
251
00:13:00,801 --> 00:13:02,201
in common agreement with you,
252
00:13:02,700 --> 00:13:05,435
considered it opportune
share your photos
253
00:13:06,020 --> 00:13:10,390
in fact, publish photos
of their support for the Vietnamese cause.
254
00:13:11,596 --> 00:13:15,045
Furthermore, there is another
problem, inevitable.
255
00:13:15,532 --> 00:13:18,305
We are two men who roll
Tout va Bien and you are a woman.
256
00:13:18,934 --> 00:13:22,353
In Vietnam the issue is not
presents it that way, but here it does.
257
00:13:22,712 --> 00:13:26,189
And surely, as a woman, you feel
will feel a little or a lot hurt
258
00:13:26,828 --> 00:13:30,184
because we criticize,
a little or a lot,
259
00:13:30,466 --> 00:13:32,765
your way
to intervene in this photo.
260
00:13:32,915 --> 00:13:35,315
Hurt, because they always are,
eternally arranged
261
00:13:35,355 --> 00:13:37,655
keys for
attack women.
262
00:13:37,735 --> 00:13:39,334
And for no other reason,
263
00:13:39,642 --> 00:13:43,663
we hope you come
respond to our letter by voice,
264
00:13:44,147 --> 00:13:47,797
As we will read it in 2
or 3 US locations.
265
00:13:47,842 --> 00:13:50,960
But it is also true that we
United States and Europe,
266
00:13:51,557 --> 00:13:54,002
things still go on,
or have already become this way.
267
00:13:54,777 --> 00:13:57,525
And you and we are in
same locker room
268
00:13:58,178 --> 00:14:01,017
that this photo can
serve as a revealer.
269
00:14:01,890 --> 00:14:03,816
We go from there.
270
00:14:03,840 --> 00:14:06,040
From you, in the USA.
From us, in Paris.
271
00:14:06,501 --> 00:14:09,073
Of us in Paris.
Of you in Vietnam.
272
00:14:09,559 --> 00:14:14,147
Of us in Paris looking at you in the
Vietnam. From us, who are going to the USA.
273
00:14:14,258 --> 00:14:18,914
And everyone in this room
display, listening to us and watching you.
274
00:14:19,625 --> 00:14:21,111
We start from all of this.
275
00:14:21,615 --> 00:14:26,364
All of this is organized in a certain way
So, it works in a certain way.
276
00:14:27,056 --> 00:14:30,056
We want to discuss
that, from then on.
277
00:14:30,406 --> 00:14:34,045
From Tout va Bien, go to
Vietnam, return to Tout va Bien,
278
00:14:34,560 --> 00:14:38,899
that is, come back from Vietnam to this room
where Tout va Bien projects,
279
00:14:39,329 --> 00:14:43,358
and immediately return to
home, and tomorrow return to the factory.
280
00:14:43,990 --> 00:14:45,798
To talk about all this,
281
00:14:46,094 --> 00:14:48,552
we show this photo in front of
from people's eyes.
282
00:14:49,143 --> 00:14:50,834
Or rather,
we show it again,
283
00:14:50,869 --> 00:14:53,675
because the North Vietnamese
and you had already shown it.
284
00:14:54,219 --> 00:14:57,576
To say it another way:
We ask, and we ask ourselves:
285
00:14:58,017 --> 00:15:01,413
Have we looked at this photo?
What had we seen in her?
286
00:15:01,890 --> 00:15:04,493
And about every question
another is discovered.
287
00:15:04,930 --> 00:15:07,429
For example: How
do we look at this photo?
288
00:15:07,469 --> 00:15:10,419
How did our
look when you see this photo?
289
00:15:11,199 --> 00:15:14,828
And what makes it work
thus, and not otherwise?
290
00:15:15,238 --> 00:15:16,553
And yet another question:
291
00:15:17,038 --> 00:15:19,537
What makes our
voice interpret this look
292
00:15:19,577 --> 00:15:21,227
this way and not another?
293
00:15:21,940 --> 00:15:23,972
Tout va Bien presents
all these questions,
294
00:15:24,778 --> 00:15:28,353
which can be summarized
in the big question
295
00:15:29,081 --> 00:15:32,686
the role of Intellectuals
in Revolutionary struggles.
296
00:15:33,046 --> 00:15:38,118
Or to say it better, we started
to see that this great and famous
297
00:15:38,153 --> 00:15:42,854
question from Intellectuals blocks
herself, when proposed.
298
00:15:43,198 --> 00:15:45,191
And blocks the others.
299
00:15:45,553 --> 00:15:47,183
And finally,
300
00:15:47,213 --> 00:15:50,247
is no longer a question that
belongs to the field of Revolution.
301
00:15:50,412 --> 00:15:52,712
The current question of the Revolution,
302
00:15:53,322 --> 00:15:56,021
we will discover
purpose of this photo and
303
00:15:56,061 --> 00:15:58,561
Therefore, for the purpose of the film,
304
00:15:59,001 --> 00:16:02,300
it would be, on the other hand:
How to change the Old World?
305
00:16:03,070 --> 00:16:06,369
And we immediately see that
the old world of the Vietcong
306
00:16:06,864 --> 00:16:09,879
is not the same as that of
a Western intellectual,
307
00:16:10,479 --> 00:16:13,278
that the Old World of
a Palestinian is not the same
308
00:16:13,318 --> 00:16:15,518
than that of a boy
ghetto nigga,
309
00:16:16,028 --> 00:16:19,327
that the Old World of
a Renault worker
310
00:16:19,367 --> 00:16:21,367
it's not the same
than your girlfriend's.
311
00:16:22,527 --> 00:16:25,881
We see that this photo gives,
Therefore, a practical answer
312
00:16:25,921 --> 00:16:28,266
to this question about
how to change the Old World.
313
00:16:29,056 --> 00:16:34,215
Let us therefore examine this
photo/response. Let's investigate.
314
00:16:35,035 --> 00:16:36,660
Let us extract some clues.
315
00:16:37,136 --> 00:16:39,315
Let's analyze them
and synthesize them.
316
00:16:39,884 --> 00:16:43,483
Let's try to explain the
organization of Elements
317
00:16:43,523 --> 00:16:45,523
that make up this photo.
318
00:16:46,413 --> 00:16:49,512
Let's explain them,
on the one hand, as if
319
00:16:49,552 --> 00:16:52,502
if it were a
physical-photographic nucleus,
320
00:16:53,101 --> 00:16:55,701
and on the other hand,
how to treat
321
00:16:55,731 --> 00:16:58,181
of a cell
photographic-social.
322
00:16:59,100 --> 00:17:02,000
Next, let's try to relate
scientific research,
323
00:17:02,040 --> 00:17:04,490
and further research
directly political.
324
00:17:05,146 --> 00:17:07,347
"Where do correct ideas come from?
325
00:17:07,819 --> 00:17:10,719
From the struggle for production,
of the Class Struggle,
326
00:17:10,759 --> 00:17:13,358
and experimentation
scientific theory"; by Mao).
327
00:17:13,747 --> 00:17:16,832
Carry out this investigation,
interrogate this photo,
328
00:17:17,431 --> 00:17:20,126
what is it if
trying to find out how
329
00:17:20,166 --> 00:17:22,661
the answer was given
that the photo produces
330
00:17:22,811 --> 00:17:25,306
in the conditions
of the struggle in Vietnam.
331
00:17:26,255 --> 00:17:28,650
We will see, then, if this
answer is entirely
332
00:17:28,690 --> 00:17:30,087
satisfactory for everyone.
333
00:17:30,147 --> 00:17:31,759
In whose favor? Against whom?
334
00:17:31,894 --> 00:17:35,787
And if, perhaps, they don't start
other questions arise,
335
00:17:35,991 --> 00:17:40,862
the same ones that, better
or worse, Tout va Bien proposes.
336
00:17:41,805 --> 00:17:46,162
For example, we will see that, as
concerns an important part of the photo
337
00:17:46,600 --> 00:17:51,523
the actress's expression,
the mouth/look relationship
338
00:17:51,900 --> 00:17:56,189
in western Europe, in our
understand, cannot satisfy us
339
00:17:56,588 --> 00:17:59,981
in the same way
that its authors,
340
00:18:00,031 --> 00:18:02,427
those who took or
decided to take this photo
341
00:18:02,878 --> 00:18:04,604
(North Vietnam/Vietcong Collective),
342
00:18:05,234 --> 00:18:07,542
what is absolutely
normal at first glance,
343
00:18:07,582 --> 00:18:09,389
when conditions
are different.
344
00:18:09,951 --> 00:18:12,560
But it will still be necessary
consider carefully,
345
00:18:12,600 --> 00:18:14,808
and so obstinately
as they,
346
00:18:15,370 --> 00:18:17,587
what conditions
to this "normal".
347
00:18:18,133 --> 00:18:20,224
Saying this is not equivalent
to simply act like
348
00:18:20,447 --> 00:18:23,718
most Communist Parties
of the West and its support
349
00:18:24,189 --> 00:18:26,098
(the Pope, the UN,
the Red Cross)...
350
00:18:26,569 --> 00:18:29,665
that simply say: Let us help
Vietnam achieving Peace.
351
00:18:30,361 --> 00:18:34,832
On the contrary, say what we have
spoken is something much more precise.
352
00:18:35,377 --> 00:18:39,619
For example: Let us help the alliance
North Vietnam and South Vietnam
353
00:18:40,028 --> 00:18:41,961
to achieve your Peace.
354
00:18:42,359 --> 00:18:44,000
And even more precisely:
355
00:18:44,200 --> 00:18:49,448
Since when changing your Old World,
Vietnam helps us change our,
356
00:18:49,901 --> 00:18:52,460
how can we in
reciprocity, help you, really?
357
00:18:52,819 --> 00:18:55,485
And since the
North Vietnam/Vietcong Collective
358
00:18:55,976 --> 00:18:59,367
fight, criticize and transform
Southeast Asia,
359
00:18:59,904 --> 00:19:04,074
how can we fight from our place
to change Europe and America?
360
00:19:04,650 --> 00:19:08,755
Naturally, it is something broader
than saying: "Peace in Vietnam",
361
00:19:09,187 --> 00:19:14,675
and more detailed to carry out
than creating two or three Vietnams.
362
00:19:15,175 --> 00:19:19,777
This is why Marx, in the preface
from the first edition of Capital,
363
00:19:20,189 --> 00:19:24,112
complained fearless readers
and the "minorities" to overthrow
364
00:19:24,736 --> 00:19:28,681
"the king of hell and
release the little devils."
365
00:19:29,735 --> 00:19:33,790
A few months ago, faced with this
photo of you, Jane, and the Vietnamese,
366
00:19:34,338 --> 00:19:37,157
and today before us
themselves, each one can do,
367
00:19:37,197 --> 00:19:39,614
if you want, your
own investigation.
368
00:19:39,684 --> 00:19:41,892
Then, we will compare
freely the results.
369
00:19:42,445 --> 00:19:48,416
We can take the floor without,
Therefore, take it away from those who hear it.
370
00:19:48,957 --> 00:19:50,990
In short, maybe
for a brief moment,
371
00:19:51,556 --> 00:19:55,134
is it possible to say less
stupidity upon us and the Revolution.
372
00:19:55,405 --> 00:19:56,387
Yet something more.
373
00:19:56,656 --> 00:19:58,860
So that you don't
feel personally attacked,
374
00:19:59,393 --> 00:20:00,989
but without really
be able to avoid it.
375
00:20:01,471 --> 00:20:04,208
We think the question is
poorly presented in this way, and that,
376
00:20:04,627 --> 00:20:08,077
at the end of this letter also
we will have progressed in this aspect,
377
00:20:08,512 --> 00:20:12,401
and for this reason we will really need
If you were to respond directly,
378
00:20:12,812 --> 00:20:15,956
since we not only write to you
as directors of Tout va Bien,
379
00:20:16,406 --> 00:20:19,213
but also how
readers of this photo.
380
00:20:19,970 --> 00:20:23,080
And you must recognize that it is the first
time when people who saw a photo of you
381
00:20:23,555 --> 00:20:26,855
write to him this way on purpose
of that photo of you that you saw in a magazine.
382
00:20:27,491 --> 00:20:31,177
So that you don't feel
the direct target, we would say,
383
00:20:31,595 --> 00:20:36,482
who feels that the target is not Jane,
but rather a function of Jane Fonda,
384
00:20:36,938 --> 00:20:40,758
When interrogating this photo we will talk
of you in the third person.
385
00:20:41,224 --> 00:20:43,583
We won't tell you
Jane did this or that,
386
00:20:43,999 --> 00:20:49,464
we will say the actress or the activist, in fact,
as does the text that accompanies the photo.
387
00:20:49,536 --> 00:20:52,284
Here, then, are the
are, in our opinion,
388
00:20:52,387 --> 00:20:55,640
the main Elements
(and the elements of the elements).
389
00:20:56,344 --> 00:20:58,810
that play a role
important in this photograph
390
00:20:59,464 --> 00:21:04,160
published in the magazine "L'Express"
at the beginning of August 1972.
391
00:21:04,729 --> 00:21:06,302
ELEMENTAL ELEMENTS
392
00:21:07,225 --> 00:21:10,831
This photo was taken by request
of the government of North Vietnam,
393
00:21:11,359 --> 00:21:12,927
as representative,
at the time,
394
00:21:13,357 --> 00:21:18,350
of the Revolutionary alliance between the
peoples of South and North Vietnam.
395
00:21:19,145 --> 00:21:25,315
This photo was taken by Joseph Kraft,
defined in the caption by a text
396
00:21:25,833 --> 00:21:29,203
which was not written by anyone
participated in the action of taking the photo,
397
00:21:29,766 --> 00:21:31,697
but for those
who published it.
398
00:21:32,153 --> 00:21:35,805
That is, through a text written by a
or several writers from "L'Express",
399
00:21:36,359 --> 00:21:39,363
without consultation with the delegation
North Vietnamese
400
00:21:39,403 --> 00:21:41,606
in France (we checked this).
401
00:21:41,673 --> 00:21:44,101
This text says that it is
402
00:21:44,136 --> 00:21:47,205
of one of the best known and
moderate American journalists.
403
00:21:47,497 --> 00:21:49,197
The text also says,
404
00:21:49,221 --> 00:21:52,143
that the actress is a militant
passionate about Peace in Vietnam.
405
00:21:53,134 --> 00:21:56,747
But this text does not talk about
Vietnamese people who appear in the photo.
406
00:21:57,320 --> 00:21:59,483
For example, the text does not say:
407
00:21:59,895 --> 00:22:02,521
The Vietnamese who
you can't see, in the background,
408
00:22:02,896 --> 00:22:06,843
is one of the least
known and less moderate.
409
00:22:07,451 --> 00:22:11,078
This photo, like all
photo, is physically mute.
410
00:22:11,623 --> 00:22:14,508
And it speaks through its caption.
411
00:22:15,508 --> 00:22:18,855
This caption does not underline,
don't say it again
412
00:22:19,171 --> 00:22:22,486
(because the photo speaks and
say things in your own way)...
413
00:22:22,923 --> 00:22:28,298
that the activist occupies the
first plan and Vietnam last.
414
00:22:28,944 --> 00:22:33,018
The caption reads: "Jane Fonda interrogates
some inhabitants of Han�i".
415
00:22:33,775 --> 00:22:36,505
But, the newspaper does not publish
the questions asked,
416
00:22:36,837 --> 00:22:39,528
nor the answers given
by representatives
417
00:22:39,567 --> 00:22:41,261
of the Vietnamese people
in this photo.
418
00:22:42,062 --> 00:22:45,347
It can be observed that this
legend does not describe that
419
00:22:45,778 --> 00:22:49,686
Jane Fonda interrogates,
and yes, that Jane Fonda listens.
420
00:22:50,664 --> 00:22:56,609
And maybe you didn't listen
more than 1/250th of a second,
421
00:22:57,304 --> 00:23:03,672
but it is this 1/250 that
registered and published.
422
00:23:04,165 --> 00:23:07,807
Without a doubt, when speaking like this, the
caption simply means
423
00:23:08,371 --> 00:23:11,610
that this is a snapshot taken
during the course of a discussion
424
00:23:11,986 --> 00:23:15,702
in which the actress/militant interrogated,
indeed, some inhabitants of Han�i,
425
00:23:16,338 --> 00:23:19,029
and that therefore, it is not
must give importance
426
00:23:19,059 --> 00:23:21,451
to that detail
with your mouth closed.
427
00:23:22,208 --> 00:23:24,115
But, we will see later,
428
00:23:24,449 --> 00:23:28,586
that this is not a coincidence, or
better, that it is a coincidence,
429
00:23:29,243 --> 00:23:31,535
because this is an act
immediately explored
430
00:23:31,575 --> 00:23:33,369
inside the
Capitalist necessity,
431
00:23:34,089 --> 00:23:37,010
the need for Capital
in unmasking the real
432
00:23:37,504 --> 00:23:40,600
at the same time as
that unmasks it, that is,
433
00:23:40,902 --> 00:23:44,217
the need to "deceive"
the consumer about the merchandise.
434
00:23:45,747 --> 00:23:50,018
LESS ELEMENTAL ELEMENTS
435
00:23:50,684 --> 00:23:53,566
The position of the camera
It's the type called: "counter-chopped".
436
00:23:54,044 --> 00:24:00,080
Nowadays and within the history of
Cinema is not an innocent position...
437
00:24:00,673 --> 00:24:04,831
She had been very good
technically-socially defined,
438
00:24:05,441 --> 00:24:07,531
by Orson Welles in
his first films.
439
00:24:08,447 --> 00:24:11,952
Choosing the framework
nor is it innocent or neutral:
440
00:24:12,551 --> 00:24:19,285
The Actress who looks fits
and not what the Actress looks at.
441
00:24:20,217 --> 00:24:23,498
Therefore, the actress fits
as if it were the 'Star'.
442
00:24:24,327 --> 00:24:28,460
And that's because, really, the actress is a
'Star' internationally known.
443
00:24:29,077 --> 00:24:32,947
On the one hand, it fits the
'Star' fighting, and on the other,
444
00:24:33,778 --> 00:24:37,241
in the same movement fits
also the militant as 'Estrela'.
445
00:24:37,956 --> 00:24:39,639
Which is not the same thing.
446
00:24:40,424 --> 00:24:43,472
Or rather, what could it be?
the same thing in Vietnam,
447
00:24:44,087 --> 00:24:46,416
but not in Europe
or in the United States.
448
00:24:47,364 --> 00:24:52,034
On the next page, the
that the activist looked at in this photo,
449
00:24:52,677 --> 00:24:54,809
but what you saw in
other moments.
450
00:24:55,446 --> 00:24:58,772
In our opinion, it is the
same image chain
451
00:24:59,248 --> 00:25:03,383
of the same type as those transmitted
through television networks,
452
00:25:03,423 --> 00:25:05,442
and "free world" newspapers.
453
00:25:06,297 --> 00:25:09,035
Images as seen
hundreds of thousands of times
454
00:25:09,528 --> 00:25:11,299
(as many times as bombs)...
455
00:25:11,982 --> 00:25:13,620
and that don't change anything,
456
00:25:13,682 --> 00:25:16,105
except among those who fight
to organize this chain
457
00:25:16,146 --> 00:25:17,660
of images of
a certain way,
458
00:25:17,943 --> 00:25:19,155
It's your way.
459
00:25:19,750 --> 00:25:21,719
(the 7 points of the g.r.t.)
460
00:25:22,166 --> 00:25:26,496
In fact, if this report
was signed Dupont or Smith,
461
00:25:27,089 --> 00:25:30,969
the newspapers themselves would reject it,
for being too banal.
462
00:25:31,434 --> 00:25:33,365
Really, we must admit
463
00:25:33,909 --> 00:25:36,440
which must be a banal thing,
464
00:25:36,963 --> 00:25:40,295
for boys in a community
farm on the outskirts of Hani,
465
00:25:40,830 --> 00:25:43,186
rebuild your school,
let's say, for the twentieth time,
466
00:25:43,792 --> 00:25:46,869
after being destroyed by
Dr. Kissinger's F-4 Phantom planes.
467
00:25:47,319 --> 00:25:51,826
But, naturally, no one will speak
of this extraordinary banality,
468
00:25:52,227 --> 00:25:56,225
nor the militant 'Star',
nor "L'Express".
469
00:25:56,939 --> 00:25:59,968
Nor will we talk about
What could they have talked about?
470
00:25:59,998 --> 00:26:02,017
the American actress and
their Vietnamese sisters,
471
00:26:02,474 --> 00:26:06,667
that can be seen,
in photos, on the next page.
472
00:26:07,261 --> 00:26:10,184
The American actress asked
how it is interpreted in Vietnam,
473
00:26:10,208 --> 00:26:12,393
or as someone who
plays in Hollywood
474
00:26:12,423 --> 00:26:14,137
can represent
when you are in Hani,
475
00:26:14,161 --> 00:26:16,197
from where he returns to Hollywood.
476
00:26:16,585 --> 00:26:19,962
If "L'Express" doesn't talk about everything,
This is due, in our opinion,
477
00:26:20,626 --> 00:26:23,378
to which the American actress did not
says nothing about it.
478
00:26:23,780 --> 00:26:28,004
It is true that the militant
He talked about bombs and dikes.
479
00:26:28,630 --> 00:26:32,128
But, one must not forget that
the activist is also an actress,
480
00:26:32,591 --> 00:26:37,926
which is not, for example, nor the
Russell Court, nor Ramsey Clarke.
481
00:26:38,665 --> 00:26:42,241
And, according to our opinion, one should take
take into account that, because she is an actress,
482
00:26:42,312 --> 00:26:45,164
then White House officials
you won't have any difficulties,
483
00:26:45,339 --> 00:26:47,127
if no one
try to stop them,
484
00:26:47,535 --> 00:26:50,713
to say that the actress
was unconsciously
485
00:26:50,743 --> 00:26:52,431
manipulated by
enemy hands.
486
00:26:52,927 --> 00:26:57,634
when reciting a
memory text.
487
00:26:58,227 --> 00:27:00,653
These criticisms can
easily ruin
488
00:27:01,252 --> 00:27:04,347
all efforts
of the actress and activist.
489
00:27:04,501 --> 00:27:08,015
And one must understand,
her reason
490
00:27:08,060 --> 00:27:11,574
remain vulnerable
to this type of event.
491
00:27:11,714 --> 00:27:14,123
We believe that, in this case,
this is due to the fact that
492
00:27:14,153 --> 00:27:16,061
the militant actress
he didn't mention the dikes.
493
00:27:16,091 --> 00:27:19,103
Starting from a
example, as a
494
00:27:19,133 --> 00:27:22,144
Vietnamese actress who
fix them first,
495
00:27:22,295 --> 00:27:26,511
and then give a
theatrical show
496
00:27:26,541 --> 00:27:30,155
in a threatened village
due to the breach of dikes.
497
00:27:31,862 --> 00:27:37,885
In this regard, we believe that
if the activist started from the actress,
498
00:27:39,023 --> 00:27:42,733
and that's what they do, at their level,
the Vietnamese who use it
499
00:27:43,175 --> 00:27:45,685
could begin to represent
its role historically
500
00:27:46,069 --> 00:27:48,916
in a different way
to Hollywood.
501
00:27:49,334 --> 00:27:52,356
Maybe the Vietnamese still don't
directly need this,
502
00:27:52,968 --> 00:27:54,760
but probably
Americans do,
503
00:27:55,350 --> 00:27:57,809
and therefore, indirectly,
the Vietnamese
504
00:27:58,999 --> 00:28:01,917
(we found it here
the need to return
505
00:28:02,353 --> 00:28:05,626
the Vietnamese are forced
taking a tour around the USA).
506
00:28:06,201 --> 00:28:09,535
In this photo, in this
reflection of reality,
507
00:28:10,007 --> 00:28:14,377
two people are photographed
from the front, the others from the back.
508
00:28:14,936 --> 00:28:18,634
Of the two people, one is
sharp, the other out of focus.
509
00:28:19,184 --> 00:28:22,404
In the photo the American
famous is clear,
510
00:28:22,445 --> 00:28:25,463
and the anonymous Vietnamese
It's smoky.
511
00:28:26,100 --> 00:28:30,826
In reality, the Left
of the USA is blurred,
512
00:28:31,401 --> 00:28:34,848
and the Vietnamese Left
extraordinarily clear.
513
00:28:35,645 --> 00:28:38,252
But, also in reality,
the US Right
514
00:28:38,292 --> 00:28:40,698
continues to be
extraordinarily clear,
515
00:28:41,255 --> 00:28:46,338
while the Vietnamese Right, the
"Vietnamization", is increasingly erased.
516
00:28:46,809 --> 00:28:49,842
What to think now about
"measure" by Joseph Kraft,
517
00:28:50,439 --> 00:28:52,484
who evaluated all
the contradictions,
518
00:28:52,920 --> 00:28:57,202
and regulated, consequently,
focus and distance?
519
00:28:57,949 --> 00:29:02,781
Everything was measured, as it turned out
for the sake of framing,
520
00:29:03,147 --> 00:29:07,093
with a certain purpose of
highlight the 'Star' fighting,
521
00:29:07,543 --> 00:29:12,363
and thus obtain a certain product,
a certain idea/commodity,
522
00:29:12,826 --> 00:29:15,915
and this, again, is done
intentionally.
523
00:29:16,237 --> 00:29:19,385
Let us remember: Manufacturing
of this product is
524
00:29:19,967 --> 00:29:22,363
directly controlled by
government of North Vietnam.
525
00:29:22,661 --> 00:29:25,916
But its diffusion outside
of Vietnam is not.
526
00:29:26,376 --> 00:29:29,782
When yes,
very indirectly
527
00:29:30,204 --> 00:29:31,683
not to mention the feedback.
528
00:29:32,327 --> 00:29:35,595
This diffusion is controlled
through television networks,
529
00:29:35,723 --> 00:29:37,994
and Newspapers from the "free world".
530
00:29:38,512 --> 00:29:40,882
There is, therefore, a part
of the movements that
531
00:29:40,926 --> 00:29:42,752
need a
communication route,
532
00:29:43,404 --> 00:29:45,906
which cannot be done by
who planned the movements.
533
00:29:46,268 --> 00:29:51,265
What movements? And what
match, what game is it?
534
00:29:51,747 --> 00:29:54,005
And who is it played by?
For whom? Against whom?
535
00:29:54,724 --> 00:29:58,411
Let's just say now
(We will come back to this later).
536
00:29:58,966 --> 00:30:03,033
that if we examine the
sharp/dull ratio
537
00:30:03,563 --> 00:30:09,090
expressed by the two faces,
We noticed something extraordinary:
538
00:30:09,545 --> 00:30:15,559
The smoky face is the clearest
and the clear face is the most smoky.
539
00:30:16,332 --> 00:30:18,246
Vietnamese can
allow it to be blurred,
540
00:30:19,192 --> 00:30:23,203
because there is so much that,
in reality, it's clear.
541
00:30:23,895 --> 00:30:26,634
The American is obliged
to be clear,
542
00:30:27,235 --> 00:30:30,351
and it's the Vietnamese smoky
who forces him to do this,
543
00:30:30,397 --> 00:30:32,810
in a very clear way.
544
00:30:33,505 --> 00:30:38,111
The American is obliged to emphasize
clearly its real smokeiness.
545
00:30:38,635 --> 00:30:41,399
But none of that
was mentioned in the text.
546
00:30:41,986 --> 00:30:47,577
This photo repeats
another photo of the actress
547
00:30:48,034 --> 00:30:50,317
which appeared on the cover of the
same number as "L'Express".
548
00:30:51,059 --> 00:30:54,115
The composition of this cover
It's very eloquent,
549
00:30:54,591 --> 00:30:57,205
if we take the trouble
to see that a photo
550
00:30:57,250 --> 00:30:59,763
can show so much
how much to hide.
551
00:31:00,191 --> 00:31:03,485
A photograph imposes silence,
while speaking.
552
00:31:04,044 --> 00:31:05,182
In our understanding,
553
00:31:05,809 --> 00:31:10,167
It is one of the technical bases of
double aspect of Jekyll and Hyde,
554
00:31:10,229 --> 00:31:11,436
principles and interests,
555
00:31:11,526 --> 00:31:14,542
who takes the information/
deformation when
556
00:31:14,582 --> 00:31:17,146
is transmitted through
images/sounds
557
00:31:18,177 --> 00:31:21,595
in our time, the
decline of Imperialism,
558
00:31:21,640 --> 00:31:24,656
and the trend
general is Revolution.
559
00:31:24,997 --> 00:31:26,843
The US Left
often says,
560
00:31:27,357 --> 00:31:30,126
that the tragedy is not
in Vietnam, but in the USA.
561
00:31:31,047 --> 00:31:34,251
The expression on the girl's face
militant in this photo,
562
00:31:34,290 --> 00:31:36,523
really a
expression of tragedy.
563
00:31:37,259 --> 00:31:41,657
However, a social and technically tragic
formed by its origins, that is,
564
00:31:42,099 --> 00:31:46,203
formed/deformed by school
Hollywoodian of Stanislawskian Show-Biz.
565
00:31:46,710 --> 00:31:51,082
The militant's expression was
same in Tout va Bien, reel 3,
566
00:31:51,595 --> 00:31:56,938
when, actress, heard an extra
sing a text from 'Lotta Continua'.
567
00:31:57,628 --> 00:32:00,400
This type of expression also
was that of the actress when, in 'Klute',
568
00:32:00,884 --> 00:32:03,741
when he looked with air
Compassionate and tragic your friend,
569
00:32:04,063 --> 00:32:07,719
a police officer played
by Donald Sutherland,
570
00:32:07,848 --> 00:32:10,295
and decided to pass
the night with him.
571
00:32:10,624 --> 00:32:14,867
On the other hand, it was already the same
type of expression that Henry Fonda
572
00:32:15,603 --> 00:32:18,541
used in the 40s to
interpret the exploited worker
573
00:32:19,363 --> 00:32:22,138
from The Grapes of Wrath, from
future fascist Steinbeck.
574
00:32:22,678 --> 00:32:25,361
And even further in
actress's paternal history,
575
00:32:25,401 --> 00:32:27,686
inside the
history of Cinema,
576
00:32:28,009 --> 00:32:30,762
This is also the expression
that Henry Fonda had used
577
00:32:31,333 --> 00:32:35,283
to cast deep and tragic
looks at black people in 'Young Mr. Lincoln',
578
00:32:35,326 --> 00:32:39,951
of the future Admiral of
honor of the Navy, John Ford.
579
00:32:40,224 --> 00:32:43,454
On the other hand, we find
this expression in the opposite field,
580
00:32:44,052 --> 00:32:48,090
when John Wayne feels sorry
the ravages of the Vietnam War
581
00:32:48,247 --> 00:32:50,582
in 'Green Berets'.
582
00:32:50,610 --> 00:32:51,893
In our opinion,
583
00:32:51,917 --> 00:32:55,373
This expression has been borrowed
(principles and interests).
584
00:32:55,894 --> 00:32:58,836
It's the scalper mask of
Roosevelt's New Deal.
585
00:32:59,298 --> 00:33:01,360
In fact, it is a
expression expression,
586
00:33:02,050 --> 00:33:04,222
and appeared for a
necessary chance
587
00:33:04,660 --> 00:33:07,804
at the time of birth
economics of spoken Cinema.
588
00:33:08,437 --> 00:33:12,100
It is an expression that speaks, but that
He only talks to say how much he knows
589
00:33:12,276 --> 00:33:14,084
(about the Wall Street crack,
for example)...
590
00:33:14,634 --> 00:33:16,949
but he won't say anything more.
591
00:33:17,599 --> 00:33:22,666
We believe that, for this reason,
the Rooseveltian expression
592
00:33:22,688 --> 00:33:25,908
technically differs from expressions
that preceded it in the history of Cinema,
593
00:33:26,600 --> 00:33:28,608
the expressions of the great
silent film stars,
594
00:33:28,993 --> 00:33:32,076
Lilian Gish, Rodolfo Valentino,
Falconetti, etc...
595
00:33:32,710 --> 00:33:34,064
Just do the experiment,
596
00:33:34,087 --> 00:33:38,117
and make all these faces look
a photo of atrocities in Vietnam:
597
00:33:38,672 --> 00:33:40,893
None of them will have the
same expression.
598
00:33:41,590 --> 00:33:44,583
Although they all have the
same expression of the look.
599
00:34:13,954 --> 00:34:16,285
Because before spoken Cinema,
600
00:34:16,314 --> 00:34:19,519
silent cinema had a
materialistic technical basis.
601
00:34:20,919 --> 00:34:23,437
The actor said: I am filmed.
602
00:34:24,875 --> 00:34:26,519
So, I think...
603
00:34:27,109 --> 00:34:30,037
(I think at least
that I am filmed)...
604
00:34:31,225 --> 00:34:33,323
I think, because I exist.
605
00:34:34,076 --> 00:34:37,494
After Talking Cinema
there was a New Deal
606
00:34:38,034 --> 00:34:41,545
between filmed material
(the actor) and thought.
607
00:34:42,818 --> 00:34:44,092
The actor said:
608
00:34:44,887 --> 00:34:48,117
I think (I'm an actor)...
609
00:34:48,559 --> 00:34:51,741
Therefore, I am (filmed).
610
00:34:52,222 --> 00:34:53,983
I am because I think.
611
00:34:54,456 --> 00:34:56,637
I think, therefore I am.
612
00:34:57,105 --> 00:34:59,514
As we just saw
in this experience
613
00:34:59,554 --> 00:35:01,461
which deepens Kulechov's,
614
00:35:02,108 --> 00:35:04,112
before the expression
of the New Deal,
615
00:35:04,781 --> 00:35:09,386
every silent film actor
had its own expression,
616
00:35:09,995 --> 00:35:14,025
and silent cinema had
true popular bases.
617
00:35:14,635 --> 00:35:19,279
On the contrary, when Cinema
starts talking like the New Deal,
618
00:35:19,703 --> 00:35:22,632
each actor will pass
saying the same thing.
619
00:35:23,338 --> 00:35:25,328
You can make yourself again
the same experience
620
00:35:25,352 --> 00:35:29,070
with any 'Star' of Cinema,
of Sport or Politics.
621
00:35:30,342 --> 00:35:32,098
I think, therefore I am.
622
00:35:32,349 --> 00:35:34,356
I think, therefore I am.
623
00:35:34,657 --> 00:35:36,665
I think, therefore I am.
624
00:35:36,765 --> 00:35:38,772
I think, therefore I am.
625
00:35:39,269 --> 00:35:41,276
I think, therefore I am.
626
00:35:41,401 --> 00:35:43,208
I think, therefore I am.
627
00:35:43,333 --> 00:35:46,364
That expression says a lot.
628
00:35:47,013 --> 00:35:50,789
This expression of
who knows a lot,
629
00:35:51,398 --> 00:35:55,563
but that says neither more nor less
It is, therefore, an expression that does not
630
00:35:56,327 --> 00:35:59,636
an expression that does not
helps the reader see clearer
631
00:35:59,683 --> 00:36:02,061
in your dark
personal problems.
632
00:36:02,124 --> 00:36:05,232
Seeing how Vietnam can
clarify them, for example.
633
00:36:06,010 --> 00:36:08,311
Why, therefore
be content and say:
634
00:36:09,004 --> 00:36:11,339
It's already something, there's always
something that sticks
635
00:36:11,920 --> 00:36:14,681
(every speech from the union of
Tout va Bien, on reel 3).
636
00:36:18,283 --> 00:36:22,427
And because, if the actress is still not capable
to represent differently,
637
00:36:23,109 --> 00:36:26,881
and we are still not
able to help you
638
00:36:26,923 --> 00:36:30,640
correctly represent
differently,
639
00:36:30,665 --> 00:36:33,440
because the North Vietnamese
Should they be content in this field?
640
00:36:33,464 --> 00:36:36,771
Our opinion is that we took risks
to do them more harm than good,
641
00:36:37,188 --> 00:36:40,206
by making a good
conscience so cheap.
642
00:36:40,682 --> 00:36:43,653
Said in scientific terms:
643
00:36:43,866 --> 00:36:46,627
The movement that goes from "neguentropy"
Information is not expensive.
644
00:36:46,805 --> 00:36:50,577
After all, this expression
also addresses us,
645
00:36:51,295 --> 00:36:54,317
that we make the effort to
look at it for the second time.
646
00:36:54,885 --> 00:36:58,581
That look and that mouth
They don't tell us yet,
647
00:36:58,980 --> 00:37:02,526
become empty of meaning,
648
00:37:03,131 --> 00:37:06,777
like those of the Czech boys before
of the all-powerful Russian tanks.
649
00:37:07,246 --> 00:37:10,398
Or the big little bellies
of Biafra and Bangladesh,
650
00:37:10,618 --> 00:37:12,678
or the feet of
Palestinians in the clay,
651
00:37:12,707 --> 00:37:14,817
carefully maintained
by the U.N.W.R.A.
652
00:37:14,983 --> 00:37:19,005
Empty of meaning, be careful
for Capital
653
00:37:19,345 --> 00:37:24,250
who knows how to wrap the clues,
who knows how to refill
654
00:37:24,289 --> 00:37:27,982
with the empty sense the real look of
your future enemies already present,
655
00:37:28,129 --> 00:37:31,514
and therefore, must "absent",
don't make him look anywhere.
656
00:37:33,834 --> 00:37:36,349
How to fight
Is this situation really?
657
00:37:37,025 --> 00:37:40,066
Don't stop publishing
These are the photo in question.
658
00:37:40,597 --> 00:37:43,343
Immediately, they should be removed
the totality of emissions
659
00:37:43,392 --> 00:37:46,532
of TV and Radio in almost
all countries in the world,
660
00:37:46,811 --> 00:37:49,263
just like everyone
types of newspapers,
661
00:37:50,166 --> 00:37:51,857
which is a utopia.
662
00:37:52,426 --> 00:37:55,665
No. But they can be
published otherwise.
663
00:37:56,419 --> 00:37:59,055
And it is in this "other way" that
the 'Stars', due to the
664
00:37:59,180 --> 00:38:03,856
its monetary and cultural weight,
have a role to play.
665
00:38:04,604 --> 00:38:06,422
A crushing role, as they say.
666
00:38:07,129 --> 00:38:09,218
And the real tragedy
It's just that they don't know
667
00:38:09,248 --> 00:38:11,138
how to interpret
this amazing role.
668
00:38:12,249 --> 00:38:14,268
What should be done to
learn to represent it?
669
00:38:14,979 --> 00:38:18,090
Many questions still remain
in Europe and the United States,
670
00:38:18,765 --> 00:38:21,121
before you can
respond clearly.
671
00:38:21,258 --> 00:38:23,171
We propose some
of them in Tout va Bien.
672
00:38:23,590 --> 00:38:26,735
Like Marx, in his time,
starting from German Ideology
673
00:38:27,172 --> 00:38:31,291
even proposed the question of
Misery of Philosophy against Proudhon,
674
00:38:31,845 --> 00:38:34,889
who only knew how to philosophize
about misery.
675
00:38:35,980 --> 00:38:38,988
If we look closely at the North Vietnamese
situated behind the American actress,
676
00:38:39,228 --> 00:38:41,617
we will realize in
then your
677
00:38:41,656 --> 00:38:44,045
face expresses
something very different
678
00:38:44,480 --> 00:38:46,910
that of the American militant.
679
00:38:47,130 --> 00:38:49,579
Even though you don't
see what you look at,
680
00:38:50,222 --> 00:38:54,848
we realize that your face indicates
what you face every day:
681
00:38:55,304 --> 00:39:00,613
Bombs, destroyed dams
and disemboweled women,
682
00:39:01,060 --> 00:39:04,345
the house having to be
rebuilt for the umpteenth time,
683
00:39:04,375 --> 00:39:06,764
or the hospital,
the lesson of learning...
684
00:39:07,316 --> 00:39:10,199
Lenin said:
First lesson: Learn;
685
00:39:10,237 --> 00:39:13,408
Second lesson: Learn;
Third lesson: Learn.
686
00:39:14,264 --> 00:39:16,762
And the immediate reference
of this face is the fight
687
00:39:16,801 --> 00:39:19,299
everyday life is possible by
a very simple fact:
688
00:39:19,751 --> 00:39:22,057
It's not just a face
of Revolutionary, but rather
689
00:39:22,086 --> 00:39:23,815
a face of
Vietnamese revolutionary.
690
00:39:24,700 --> 00:39:26,728
A great past
fights is cruelly inscribed,
691
00:39:27,135 --> 00:39:30,807
a long time ago, on that face, by the
French, Japanese and American imperialism.
692
00:39:31,416 --> 00:39:34,405
In fact, this face,
It has been recognized for a long time,
693
00:39:34,818 --> 00:39:37,509
as the face of the Revolution
all over the world,
694
00:39:37,547 --> 00:39:39,373
including by his enemies.
695
00:39:40,334 --> 00:39:41,963
Let us not be afraid of words:
696
00:39:42,309 --> 00:39:45,720
It's a face that already
gained independence
697
00:39:45,754 --> 00:39:47,964
of your communication code.
698
00:39:48,607 --> 00:39:50,906
Any face
Revolutionary today,
699
00:39:50,930 --> 00:39:53,058
could not transmit
so immediately
700
00:39:53,087 --> 00:39:54,634
as his,
daily combat.
701
00:39:54,663 --> 00:39:57,372
Simply because none
Revolution, except the Chinese one,
702
00:39:57,396 --> 00:40:01,382
has already made the long march
of the Vietnamese Revolution.
703
00:40:02,201 --> 00:40:03,270
Let's do the experiment.
704
00:40:04,041 --> 00:40:06,235
This black man, for example
705
00:40:06,258 --> 00:40:10,271
We can't say right away
why you fight, where and how:
706
00:40:10,670 --> 00:40:13,955
In Detroit, in
Chrysler factories
707
00:40:14,374 --> 00:40:17,935
for a better salary and
less mind-boggling work?
708
00:40:18,293 --> 00:40:21,290
In Johannesburg, by law
entering a cinema
709
00:40:21,744 --> 00:40:24,798
where white people exhibit
white films?
710
00:40:25,392 --> 00:40:26,914
And this worker?
711
00:40:27,060 --> 00:40:28,874
And what about this European child?
712
00:40:29,572 --> 00:40:30,747
And this Arab?
713
00:40:31,782 --> 00:40:33,303
And this young radical?
714
00:40:33,355 --> 00:40:35,241
As Uncle Brecht said,
715
00:40:35,805 --> 00:40:37,681
we must have the courage
to say that
716
00:40:37,710 --> 00:40:39,833
we have nothing to say
upon these faces,
717
00:40:40,079 --> 00:40:42,843
unless there is a caption
in the photo that says nonsense,
718
00:40:42,972 --> 00:40:45,044
we will repeat
on your own.
719
00:40:45,568 --> 00:40:48,637
And we must have the courage to say that
This courage is just a confession
720
00:40:48,677 --> 00:40:51,352
of weakness: We are lost,
we have nothing to say.
721
00:40:51,770 --> 00:40:56,555
On the contrary, in front of that face
Vietnamese, no subtitles needed:
722
00:40:57,360 --> 00:41:00,850
All over the world it will be said:
is a Vietnamese,
723
00:41:01,314 --> 00:41:04,875
and the Vietnamese fight to
expel Americans from Asia.
724
00:41:05,223 --> 00:41:11,367
On the contrary, let's isolate the face
of the American actress in the photograph.
725
00:41:12,160 --> 00:41:14,879
It transmits nothing,
726
00:41:15,150 --> 00:41:17,618
or rather, that it does not transmit
nothing more than yourself,
727
00:41:18,013 --> 00:41:20,185
a self that does not
is nowhere,
728
00:41:20,481 --> 00:41:23,146
lost in infinity
immensity of eternal tenderness
729
00:41:23,195 --> 00:41:25,663
of a Piet by Michelangelo.
730
00:41:26,388 --> 00:41:29,280
Face of a woman who does not
transmits any woman.
731
00:41:30,006 --> 00:41:32,578
The Vietnamese's face was a
function that transmits the real,
732
00:41:33,332 --> 00:41:34,891
while the face
from the American
733
00:41:35,413 --> 00:41:37,717
It is a function that does not
transmits more than one function.
734
00:41:38,161 --> 00:41:41,289
Face that could be that of a
hippie in need of drugs,
735
00:41:41,937 --> 00:41:44,078
that of a student,
from Eugene, Oregon,
736
00:41:44,750 --> 00:41:47,747
when your favorite,
Pr�fontaine, you just lost
737
00:41:47,777 --> 00:41:49,725
the Olympic 5,000 meters,
738
00:41:50,272 --> 00:41:53,880
and that of a lover
abandoned by your love,
739
00:41:54,486 --> 00:41:56,279
and also that of
a militant in Vietnam.
740
00:41:56,629 --> 00:41:57,793
It's too much.
741
00:41:58,188 --> 00:42:01,312
There is too much information in one
space/time too small.
742
00:42:02,172 --> 00:42:04,869
At the same time, we are certain
that she is a militant
743
00:42:04,899 --> 00:42:06,652
Thinking about Vietnam
and uncertain as a whole,
744
00:42:07,686 --> 00:42:10,483
because it could be
thinking about anything,
745
00:42:10,513 --> 00:42:11,811
as we have just proven.
746
00:42:12,550 --> 00:42:15,002
So we must finish
asking us:
747
00:42:15,452 --> 00:42:17,685
Like a photo of a
militant (or actress)...
748
00:42:18,294 --> 00:42:20,692
not thinking,
necessarily, in Vietnam,
749
00:42:21,001 --> 00:42:25,022
It is published exactly in the place
that of an actress (or activist)...
750
00:42:25,563 --> 00:42:27,878
thinking,
necessarily in Vietnam?
751
00:42:28,925 --> 00:42:33,155
Because reality
This photo is here:
752
00:42:33,688 --> 00:42:37,494
A 'Star' makeup discovered
by her own lack of makeup.
753
00:42:38,198 --> 00:42:40,551
But "L'Express"
don't say that,
754
00:42:41,243 --> 00:42:44,978
because it would be a start
of Revolution in journalism.
755
00:42:45,727 --> 00:42:49,921
It would be a beginning of Revolution to say,
in Europe or the United States, which,
756
00:42:50,246 --> 00:42:54,256
Currently, it is not possible to take a
photo of someone thinking about something:
757
00:42:54,996 --> 00:43:00,666
Vietnam, Ford,
factory, the beach, etc.
758
00:43:01,901 --> 00:43:05,945
They will say that we were mistaken when
isolate part of the photo from the rest
759
00:43:06,432 --> 00:43:09,079
when this part
It is not published alone.
760
00:43:09,962 --> 00:43:11,920
It's a terrible argument...
761
00:43:12,489 --> 00:43:14,536
We precisely isolate it to
show that, indeed,
762
00:43:14,918 --> 00:43:19,976
was alone and that
Tragedy lies in this loneliness.
763
00:43:20,811 --> 00:43:23,990
Because if we could
isolate that face,
764
00:43:24,613 --> 00:43:27,739
That's what he lets himself do,
765
00:43:28,619 --> 00:43:33,822
Unlike the Vietnamese face, which
remains tied to its environment,
766
00:43:34,337 --> 00:43:36,240
even if we try
observe him as alone.
767
00:43:36,997 --> 00:43:39,412
It's definitely a
counter-plan.
768
00:43:39,929 --> 00:43:44,178
On the other hand, in this photo, there is no
possibility of a counter-plan.
769
00:43:44,419 --> 00:43:46,123
No counterplan.
770
00:43:46,840 --> 00:43:49,536
This expression
employed by the actress
771
00:43:49,576 --> 00:43:52,073
It is known in France
a long time ago.
772
00:43:52,668 --> 00:43:55,630
It is the operating model of the
Cartesian thinking:
773
00:43:56,159 --> 00:43:57,831
I think, therefore I am,
774
00:43:58,623 --> 00:44:02,349
the same one that inspired Rodin
and his statue "The Thinker".
775
00:44:02,991 --> 00:44:06,757
It would be better to take a walk around the famous statue
wherever there is a catastrophe
776
00:44:07,456 --> 00:44:09,812
in order to soften
the masses.
777
00:44:10,326 --> 00:44:12,982
The fraud of capitalist art,
of capitalist humanism,
778
00:44:13,433 --> 00:44:14,603
would then explode.
779
00:44:15,188 --> 00:44:18,195
We must understand that a
'Star' cannot think,
780
00:44:18,617 --> 00:44:23,659
because it is a social function:
It is thought out, and it makes you think...
781
00:44:24,221 --> 00:44:28,836
Just look at the performances of great
thinkers like Marlon Brando
782
00:44:29,429 --> 00:44:31,496
or any
other motherfuckers,
783
00:44:31,527 --> 00:44:33,524
to understand why
Capital needs
784
00:44:33,574 --> 00:44:35,172
the support of a
art of this kind,
785
00:44:35,202 --> 00:44:39,096
to reinforce the philosophy
idealistic in its combat
786
00:44:39,895 --> 00:44:43,889
against materialist philosophy
of Marx, Engels, Lenin and Mao,
787
00:44:44,329 --> 00:44:46,775
representing their
people in this field.
788
00:44:46,997 --> 00:44:52,375
We have just said: Let us isolate, by
On the contrary, the face of the American actress.
789
00:44:53,141 --> 00:44:56,639
Let us now isolate the words
"contrary" in this sentence:
790
00:44:57,160 --> 00:45:01,654
Isolate, divide: Division
revolutionary, said Lenin,
791
00:45:01,704 --> 00:45:04,700
who fights against division
labor capitalist.
792
00:45:07,925 --> 00:45:10,222
We see, then, that the figure
of the American militant,
793
00:45:10,323 --> 00:45:12,669
and the North Vietnamese
are contrary.
794
00:45:13,387 --> 00:45:16,777
And what really happens in
imaginary reality of this image
795
00:45:17,391 --> 00:45:19,657
It is, in our opinion,
the struggle of these opposites.
796
00:45:20,382 --> 00:45:25,010
The American gaze is content to
read the word horror in Vietnam.
797
00:45:25,635 --> 00:45:29,678
The Vietnamese gaze sees reality
American in all its horror.
798
00:45:30,169 --> 00:45:34,621
In this scene, the Vietnamese appears
in the background, like an extra,
799
00:45:35,047 --> 00:45:38,983
and behind it, we can feel
the overwhelming power of
800
00:45:39,018 --> 00:45:43,093
machine assembled by
North Vietnam/Vietcong Collective.
801
00:45:44,220 --> 00:45:49,376
Behind the figure of this 'Star' is,
yet, the vile and fearsome capitalist machine,
802
00:45:50,032 --> 00:45:53,284
full of a cynically expression
humble and confused in the light
803
00:45:54,499 --> 00:45:58,417
as Lelouch says, in
L'aventure, c'est l'aventure.
804
00:45:59,084 --> 00:46:04,048
In short, struggle between what
It already was and what it already is,
805
00:46:04,307 --> 00:46:06,205
between the old and the new.
806
00:46:07,488 --> 00:46:10,733
The fight that is not limited to the
act of taking this photograph,
807
00:46:11,683 --> 00:46:14,957
which is perpetuated by the form
how the photo was published,
808
00:46:15,460 --> 00:46:18,655
and the fact that people
who are in the cinema are looking
809
00:46:18,695 --> 00:46:20,492
for this photo
right now.
810
00:46:21,480 --> 00:46:26,346
Struggle between the process of
production and the diffusion process,
811
00:46:26,986 --> 00:46:31,239
according to who runs a
and another, Capital or Revolution.
812
00:46:32,125 --> 00:46:34,147
OTHER ELEMENTS OF ELEMENTS
813
00:46:35,687 --> 00:46:39,175
By taking the risk of publicizing this
photo, the North Vietnamese are right.
814
00:46:39,744 --> 00:46:42,571
Or rather, they have their reasons.
815
00:46:43,100 --> 00:46:45,334
This photo represents the role
small screw
816
00:46:45,722 --> 00:46:48,168
in the mechanism of
development of
817
00:46:48,203 --> 00:46:50,650
its current offensive
diplomatic-military.
818
00:46:53,176 --> 00:46:57,110
This photo is one of a thousand given by
Vietnamese people with their blood,
819
00:46:57,565 --> 00:46:59,562
to replicate crimes
American war.
820
00:47:00,687 --> 00:47:05,409
Note in passing, Jane, that the
Vietcong/North Vietnam collective
821
00:47:05,851 --> 00:47:08,539
rarely publishes atrocities
in your documents,
822
00:47:08,769 --> 00:47:10,861
although it publishes, yes,
often fighting.
823
00:47:11,184 --> 00:47:15,554
To give this replica, here,
824
00:47:15,844 --> 00:47:20,867
represented here by the Committee of
Friendship with the American People,
825
00:47:21,345 --> 00:47:23,801
who invited
actress Jane Fonda.
826
00:47:24,197 --> 00:47:26,562
It is, therefore,
to play a role.
827
00:47:27,442 --> 00:47:29,744
Contrary to many
other Americans,
828
00:47:30,376 --> 00:47:33,848
the American actress accepted this
paper and therefore moved.
829
00:47:34,490 --> 00:47:37,585
He went to Han�i to be at the side of
service of the Vietnamese Revolution.
830
00:47:38,198 --> 00:47:42,974
Now, we can ask ourselves:
How do you put yourself into service?
831
00:47:43,380 --> 00:47:45,769
Or more exactly:
How do you interpret this role?
832
00:47:46,570 --> 00:47:48,568
The American actress
in action in this photo
833
00:47:48,990 --> 00:47:51,941
serves the Vietnamese people in
their fight for Independence,
834
00:47:52,637 --> 00:47:54,758
but it doesn't work
only in Vietnam,
835
00:47:55,116 --> 00:47:57,743
and yes in the USA, in particular,
and also in Europe,
836
00:47:58,294 --> 00:48:01,220
since the photo
reached us.
837
00:48:02,453 --> 00:48:05,434
That is, that we, that
we look at this photo from here,
838
00:48:06,183 --> 00:48:09,328
we are freely obliged
asking: Does this photo serve us?
839
00:48:09,883 --> 00:48:12,103
And first of all: Serve us
to serve Vietnam?
840
00:48:12,757 --> 00:48:15,662
And it is Vietnam that forces us
to ask this question.
841
00:48:16,473 --> 00:48:20,477
SYNTHESIZED ELEMENTS
842
00:48:21,090 --> 00:48:25,809
Neither "L'Express" nor the militant
American made a distinction between
843
00:48:26,204 --> 00:48:30,174
Jane Fonda speaking, interrogating,
and Jane Fonda listening.
844
00:48:30,932 --> 00:48:34,718
For the Vietnamese, in this
historic moment of your struggle,
845
00:48:35,202 --> 00:48:40,002
the most important fact about
photo is that Jane Fonda is in it,
846
00:48:45,872 --> 00:48:48,410
because silence is also
eloquent, but this is not said.
847
00:48:48,878 --> 00:48:51,108
The important thing is that
she is there.
848
00:48:52,306 --> 00:48:57,259
But here, in 1972, the main element
It is not, necessarily, the same.
849
00:48:57,794 --> 00:49:01,161
We have to know what force acts
behind that "forcibly".
850
00:49:01,870 --> 00:49:04,960
We meet in obligation
to insist that the caption lied
851
00:49:06,072 --> 00:49:09,507
when saying that the actress spoke
to the inhabitants of Han�i,
852
00:49:10,234 --> 00:49:13,781
when the photo showed
that the activist was listening to.
853
00:49:14,564 --> 00:49:20,201
We need the contradictory truth
of this photo and not of its eternal truth.
854
00:49:20,656 --> 00:49:25,862
And it is important for us to insist that the
"L'Express" lies on all levels,
855
00:49:26,483 --> 00:49:29,905
but it is important to add
that if the magazine can lie,
856
00:49:30,311 --> 00:49:32,564
this happens
because the photo allows it.
857
00:49:33,050 --> 00:49:36,119
Indeed, "L'Express"
takes advantage (loss and profit) of
858
00:49:36,616 --> 00:49:38,821
implicit authorization
of this photo to
859
00:49:38,871 --> 00:49:41,326
conceal the fact that
that the activist hears.
860
00:49:42,451 --> 00:49:45,547
Because when saying what she says,
and that talks about Peace in Vietnam,
861
00:49:46,135 --> 00:49:49,209
"L'Express" may silence
about what Peace is about,
862
00:49:49,527 --> 00:49:51,531
leaving this
due diligence for the photo,
863
00:49:51,566 --> 00:49:54,572
as if you were
implied what the photo would say,
864
00:49:54,989 --> 00:49:58,091
by itself, what kind of Peace
This is when we saw that it is not so.
865
00:49:58,830 --> 00:50:01,395
But if "L'Express"
can act like this
866
00:50:01,426 --> 00:50:04,733
It's probably because
the american actress
867
00:50:04,793 --> 00:50:08,500
does not militate but
saying: Peace in Vietnam!
868
00:50:09,042 --> 00:50:12,348
She doesn't ask
what peace exactly,
869
00:50:12,388 --> 00:50:15,394
not particularly,
What Peace in America.
870
00:50:16,040 --> 00:50:19,456
And if you don't ask,
or you still can't do it,
871
00:50:20,064 --> 00:50:23,471
It's not because it still works
as an actress and not as a militant,
872
00:50:23,521 --> 00:50:25,525
and yes, quite the opposite,
873
00:50:25,855 --> 00:50:28,721
because as a militant I don't
no question is proposed
874
00:50:28,972 --> 00:50:30,775
about new approaches
or styles that
875
00:50:30,805 --> 00:50:32,509
can be applied
to their functions
876
00:50:32,936 --> 00:50:35,686
as an actress, both technically,
as socially.
877
00:50:36,316 --> 00:50:38,220
In other words,
she doesn't consider
878
00:50:38,260 --> 00:50:40,164
his militant activity
like an actress,
879
00:50:40,655 --> 00:50:43,060
although the North Vietnamese
invited her
880
00:50:43,100 --> 00:50:45,605
precisely as such,
as a militant actress.
881
00:50:46,623 --> 00:50:52,395
In short, it talks about a place
different from where you are, in America,
882
00:50:52,857 --> 00:50:55,544
what is the point
primarily to the Vietnamese.
883
00:50:56,106 --> 00:50:59,212
Hence the fact that also
she hides that
884
00:50:59,252 --> 00:51:02,058
the most important
In this photo she hears it.
885
00:51:02,763 --> 00:51:04,779
Listen to Vietnam, before
to talk about him.
886
00:51:05,545 --> 00:51:08,551
However, simultaneously,
Nixon, Kissinger,
887
00:51:08,581 --> 00:51:10,485
and the infamous Porter
they don't hear anything,
888
00:51:10,901 --> 00:51:15,112
and they don't want to hear it at all
nothing at the Paris Meetings.
889
00:51:15,655 --> 00:51:19,062
Hence their disguises which, like
Indeed, it is necessary to unmask.
890
00:51:20,013 --> 00:51:24,679
And unmasking Nixon is not
It's saying: Peace in Vietnam!
891
00:51:25,421 --> 00:51:28,067
Because he also says
that (and Brezhnev too).
892
00:51:28,608 --> 00:51:31,060
I need to say
his opposite.
893
00:51:31,627 --> 00:51:34,419
I need to say:
I hear the Vietnamese
894
00:51:34,464 --> 00:51:37,256
who will tell me that Peace
want in their country.
895
00:51:37,944 --> 00:51:39,089
I need to say:
896
00:51:39,113 --> 00:51:41,266
As an American,
I shut my mouth,
897
00:51:41,690 --> 00:51:44,212
because I recognize that I don't
I have nothing to say about it,
898
00:51:44,809 --> 00:51:47,030
up to the Vietnamese
say what they want,
899
00:51:47,494 --> 00:51:50,456
me listen to them and then
do whatever they want,
900
00:51:50,860 --> 00:51:53,076
because I have nothing to
to do with Southeast Asia.
901
00:51:53,450 --> 00:51:55,598
The rest is just a disguise.
902
00:51:56,312 --> 00:51:57,963
Translation: Luiz Rosemberg Filho