Original subtitles

Dear Jane,

In the advertising brochure Tout va Bien accompanying...

...at festivals in Venice, Carthage, New York and San Francisco...

...prefer to put your picture in Vietnam...

...instead of film stills.

Found this photo in a number of L'Express in early August 72...

...and we think it will allow us to speak very specifically...

...on the problems presented by Tout va Bien.

It is absolutely divert the conversation...

...and not to mention Tout va Bien,

as if we were afraid to speak of this movie.

Absolutely.

This is a Naio so check the story,

(such as puppet troops Thieu Quang-Tri)...

...which eventually leads to go over the other.

(Such as shells of the 7th fleet of Quang-Tri).

It is therefore a stroll...

...but is worth the expression,

a direct rodeo.

That is,

a turn that will allow us to face, directly, the terrible problems that small,

one way or another, the film we shot together earlier this year shows.

And before speaking, then, and in every way,

of the qualities and defects of our movie,

prefer to ask the critics, to journalists, spectators,

which have for well do us the effort to look into this your photo in Vietnam...

...that was taken a few months after movie we did in Paris.

Actually, this picture, and the short text that accompanies it,

seem able to summarize Tout va Bien we would know better than to do it.

And this for one simple reason.

This photo responds the same question that the film features:

What role should play intellectuals in the revolution?

To this question,

the photo gives a practical answer...

...(the answer given is their practice).

This photo shows you,

really you, Jane,

the service freedom of the Vietnamese people.

Tout va Bien also answers this question,

but not the same way.

For less certain that the photo of answers to give,

the first film exposes other questions.

And they arrive, after all,

Not present as such, the question intellectuals and the revolution.

As proposed, then this issue?

The film still does not respond accurately.

But the way because even does not respond is, in fact,

an indirect way of propose new issues.

Because of no use to old answers to new questions...

...presented by the current development of revolutionary struggles.

You need to learn, anyway, to formulate these new issues.

And learn from those who,

Although they have not had time clearly write these new issues...

...already conquered the land where may flourish and expand,

and conquered with a new practice.

We said to him that the way in which,

not yet responded truly as the Vietnamese and you in this picture,

was an indirect way of present the first new issues.

An indirect way.

A diverted way.

Now you can understand why...

...the need for a rodeo before speaking of the film.

Why a spin by Vietnam?

First,

Because everyone agrees that there are show really new issues.

And then, because you were with them...

...after you have been with us.

Hence, when looking at this photo of a actress...

...in the theater of military operations,

our desire to question her.

Not to question the actress, and yes the photo.

And for us, this amounts to introduce a number of new questions...

...the classic response that the Vietnamese and you...

...gave this famous question of intellectual , taking and disseminating this picture.

Also intervenes something more in our decision...

...to take this photo to strolling by Vietnam.

That something more is our desire to make a...

...discussion of the film with the audience,

whether or not journalists.

Everyone is his own journalist and his own editor...

...depending on how it develops everyday activity of each in a movie...

...putting as star of this film.

And it is precisely this type of self-leadership system.

We want to talk.

From talking to with the viewer.

But to do so, we should give it a whirl.

Because, just as a film is a kind of turning...

...that returns us to ourselves...

...anyway, back to the movie,

must perform this rodeo in ourselves.

And here in the US, 'ourselves' means, first, still and always, Vietnam.

Let's explain this with a little more breadth.

We think it is important and urgent speak...

...rather to those who gave work to see our film.

This is where they are,

and also where we are.

Therefore, we must act in order which may present issues...

...if you will,

or provide answers to questions exposed by us.

Viewers must be able to reflect.

And reflect, first of all, this problem the questions and answers.

It is also necessary that we can be, affected by questions from viewers...

...(or answers)...

...and we can answer (or question)...

...with something other than answers (or...

...questions) also prefabricated (or answers? ).

But prefabricated for whom? For whom? Against whom?

That is, to enter a real possibility discussion Tout va Bien,

will place us out of Tout va Bien.

To speak of this machine, we leaving the factory that uses it.

We will find our base of discussion outside the cinema,

although back then.

And when we get back, we leave again with better step...

...toward the real problems of our real life material,

which the movie will not been only one element.

We will not leave or abandon Tout va Bien.

On the contrary, we from him, from to go somewhere else,

for example, Vietnam, as you back away.

But, and this is important, let with our own means.

What means is it?

From our technical means of work and social use made of them...

...(you in this picture, Vietnam, we with the film in Paris)...

...and from this use, exactly, can Judging better.

And for once, we are not alone,

the viewer will also be there,

produce at the same time consume,

And we will consume in the same time when we will produce.

Maybe all this sounds complicated to you.

As Lenin said Vertov:

�s that truth is simple but not simple is telling the truth.

And Uncle Vertov had discovered five difficulties to tell the truth.

Well Let us explain otherwise..

Today, it is said often that cinema should 'serve the people'.

Okay.

Instead of theorizing about defects and Tout va Bien quality,

'll drive us to Vietnam.

But we by and with means of Tout va Bien.

Let's look, if one can say so,

Tout va Bien as 'works' in Vietnam.

Can we take eventually some conclusions from this practical example,

on things to do and avoid,

each of us there where you are,

with his wife, your boss, your children , your money, your desires, etc.

We will use this photo to go to Vietnam investigate this matter:

How cinema can help people Vietnamese to win its independence.

And as we have said several times,

're Not the only ones to use this photo to go to Vietnam.

Thousands did,

probably here almost everyone has seen this photo...

...and for a few seconds, their way poured her to go to Vietnam.

Exactly, that's what we think is important to know:

How each used this thumbnail to go to Vietnam;

Truth: And as they went to Vietnam.

Because Dr. Kissinger also go to Vietnam several times a year.

It's just a guy like dr. Kissinger we ask why this photo.

And what relationship there might be between and Tout va this photo Bien.

And he and his friends will say that this is not serious,

we would do better talking movie, art, etc.

But one should realize the effort see that these types of reflections...

...contradict when proposals thus...

...complicate everything and stand in the way...

...to simpler questions...

...(as can being told by ordinary people).

For example, before say, 'that relationship'

one must first ask: 'even if there is a relationship'?

And then, can be ask what is the relationship.

Having discovered what relationship, 'll find out a little further,

that the relationship between our film and this photograph...

...this the problem of expression.

And we can eventually judge its importance,

ie, establish other relationships...

...with other important questions and other important answers.

They will say that this is folly, bla-bla-bla,

but at the other end of this new small chain of questions,

the question of importance,

What others call the question the practical result,

appears as a very important issue.

This is because North Vietnam / Vietcong...

...already answered the question about the importance this photo,

able to do it published all over the world 'free'

(this same world that holds free)...

...demonstrating that the importance he attached to this picture,

the importance that gave the issue of practical result,

the importance that gave the question of what is important.

This photo is therefore a response practice that the North Vietnamese,

with your help, Jane,

decided to give the famous question we did far:

What role should play film in revolutionary struggles?

In other words: What is the role of intellectuals in the revolution?

To this question, which the photo gives a practical answer...

...(in the response of an entire people;

Becomes the photo and publish...

...is taken and thus to have the security and certainty that it will be published,

both here and there,

(What is a fact, because of contrary, we would not have it).

Tout va Bien responds to be question as well.

But, from another location and differently.

One way is to say:

Here where we are, in France, in 1972,

ruled by friends of the Americans and Russians,

nothing is so clear, nothing is so evident...

...= = (remember, particularly, of Fidel Castro, saying that the UN,

for revolutionaries, never had evident truths,

it was imperialism those who had invented,

(And the big ably served the truths evident to oppress the small ones).

And since nothing is clear, Jane, continue asking questions,

but we strive to do them differently;

In a nutshell: Do new questions in order to give new answers.

For example, look at how the Vietnamese translate its combat and do questions,

since we also want translate our struggle.

And, first, let us ask ourselves honestly...

...what allows us to say what really fought.

But perhaps at this point, you, Jane, ask us:

Why this picture of me and not a Ramsey Clarke, for example?

He was also in Vietnam, also he witnessed the bombing of the dikes.

Simply You, Jane, because of Tout va Bien...

...and because unresolved in the film was the same as in this picture.

You're an actress.

Of course, we are all actors in the theater of history,

but additionally you makes movies and so do we.

So could not say why Yves Montand in Chile?

He was also in the film. True.

But it follows that the Chilean revolutionary...

...do not mention disseminate photos of Yves,

while the revolutionary Vietnamese, in agreement with you,

thought it advisable to disclose their photos...

...( in fact, disclose photos their agreement with the Vietnamese cause).

In addition there is another problem inevitable.

We are two men who ran Tout va Bien and you're a girl.

In Vietnam the issue is not presents this way, but here yes.

And surely, as a woman, you feel somewhat or very hurt...

...because we criticize, a little or a lot,

your way to intervene in this photo.

Hurt, because they always are eternally arranged buzzwords to attack the girls.

And for no other reason,

we hope you will answer speakerphone our letter,

as the we read in two or three locations in the United States.

But it is also true that in United States and Europe...

...things are still, or have become this way.

And you and we are in the same resort...

...that this photo can serve developer.

We left there.

From you in the USA. Of us in Paris.

From you to us in Paris. You in Vietnam.

From us in Paris looking you in Vietnam. From us, that we the United States.

And everyone in this cinema, listening to us and watching you.

We started all this.

All this is organized a a way, it works in a certain way.

We want to discuss this, from there.

Starting from Tout va Bien, go to Vietnam, Tout va Bien back to,

ie returning from Vietnam to this room where Tout va Bien projects...

...and immediately return to home, and tomorrow back to the factory.

To talk about all this,

slipped this photo before the eyes of people.

Or rather, become the slide it...

...because the North Vietnamese and you already had slipped.

Put another way: Ask, and ask ourselves:

Had looked this photo? What we had seen it?

What about every question discovers another.

For example: We look at this picture? Worked as our gaze to look at that photo?

And what makes it work so, and not otherwise?

And yet another question:

What makes our voice interpret this look this way and not another?

Tout va Bien presents all these questions,

which can be summarized in the great question...

...the role of intellectuals in revolutionary struggles.

Or better saying, we begin to see that this great and famous...

...question of intellectual blocks itself, when proposing.

E blocks the other.

And finally,

It is no longer a question belongs to the field of revolution.

The current question of the revolution...

...( discover the purpose of the photo, so the purpose of the movie)...

...would be on the other side: Changing the old world?

Immediately we see that the old world vietcong...

...is not the same as that of a Western intellectual,

the old world of a Palestinian is not the same as that of a black boy ghetto,

the old world of a worker Renault is not the same as his girlfriend.

We see this photo gives therefore a practical response...

...this question of changing the old world.

Let us therefore examine this photo I response, investigate.

Extraiamos some evidence.

Let's analyze them and synthesize them.

Let us explain the organization of the elements that make up this photo.

Let us explain them by hand, as if it were a physical - photographic core,

on the other hand, as if it were a photographic - social cell.

Then try to relate the research scientific and research more directly political.

('They come from the right ideas:

('Of the struggle for production, the class...

...struggle and scientific experimentation' Mao).

Carry out this investigation, interrogate this photo,

what is it but try to find out how...

...was given the answer that the picture gives...

...(in fight conditions in Vietnam).

We will see if this response is entirely satisfactory for everybody...

...(to whom against whom? ).

And perhaps not begin to emerge more questions,

the same as, better or worse way, Tout va Bien proposes.

For example, we see that in concerns an important part of the photo...

...(the expression of the actress, her mouth respect / look)...

...in Western Europe, our understand, can not satisfy us...

...just as their authors, who took or decided to take this photo...

...(the collective North Vietnam / Vietcong,

which is quite normal at first sight when the conditions are different;

But you will still need to consider carefully and as doggedly as they,

(what conditions to this 'normal').

To say this is not equivalent to act simply as.

Most communist parties of the West and its supports...

...(the Pope, the UN, the Red Cross)...

...simply say: We help Vietnam to achieve peace.

Unlike, say what we have said is much more accurate,

eg we help the alliance of North Vietnam and South Vietnam...

...get your peace.

And even more precisely:

Since to change their old world, Vietnam helps to change our us...

...as we can in reciprocity, help you, really?

And since the collective North Vietnam / Vietcong.

Struggle, criticism and turns Southeast Asia,

how we can fight our place to change Europe and America?

Course, is something broader to say: 'Peace in Vietnam'

and closer to conduct to create two or three Vietnams,

and for this reason, that Marx (in the preface of first edition of Capital)...

...complained readers without fear and the 'minutiae' to overthrow...

'hell and King release the devils.'

A few months before this picture of you, Jane, and Vietnamese,

Today and before ourselves, each can do if you want, your own research.

Soon, we will compare the results freely.

We may take the floor without for it, take it from listening.

Short, perhaps for a brief moment,

you can say less stupidity about us and the revolution.

Yet something else.

So you do not feel personally attacked...

...but without actually being able to avoid it...

...(think the question is poorly presented that way, and that...

...at the end of this letter will also progressed in this respect,

And therefore would need a lot that you would respond directly,

since they do not just write him as directors of Tout va Bien,

but also as readers of this photo.

And should recognize that it is the first time people who saw your picture...

...(write you this way the purpose that he saw his photo in a newspaper).

For do not feel the direct target, we would say,

feel that the target is not Jane, but a Jane Fonda function...

...to interrogate this photo 'll talk to you in the third person.

We will not tell you Jane did this or that,

we'll say actress or militant, incidentally, as does the text accompanying the photo.

Here, then, which are, in our opinion,

key elements (and the elements of the elements)...

...play an important role in this photograph...

...published in the French newspaper L ' Express principle of August 1972.

BASIC ELEMENTS.

This picture was taken at the request North Vietnamese government,

as a representative at the time,

Of the revolutionary alliance between...

...people of South Vietnam and North Vietnam.

This photo was taken by Joseph Kraft, set at the foot of the picture for a text...

...that was not written by who participated in the action of taking the picture,

but for those who disclose;

Ie by a text written by one or more editors of L'Express,

without consulting the North Vietnamese delegation in France (checked it).

This text says that it...

...one of the most known and moderate American journalists.

The text says, also,

The actress is a militant love for peace in Vietnam.

But the text does not speak of Vietnamese appearing in the picture.

For example, the text does not say:

The Vietnamese is not seen in the background...

...is one of the Vietnamese less known and less moderate.

This photo, like all photo is physically changes.

And speaking through the mouth of the photo stand.

This photo standing not stresses, makes say...

...(because the picture speech and says things in his own way)...

...the militant ranks first plan and Vietnam last.

The foot says, 'Jane Fonda asks some inhabitants of Hanoi'.

But the newspaper does not publish the questions asked,

or the answers given by representatives the Vietnamese people in this picture.

It can be observed that this foot, does not describe that.

Jane Fonda asks, and yes, Jane Fonda hear.

E may not have heard more than 1/250 of a second,

but this is 1/250 that registered and released.

Undoubtedly, speaking thus foot simply means...

...that this is a snapshot taken during the course of an argument.

Where the actress / activist questioned, really, some residents of Hanoi...

...and therefore, one should not give importance to this detail mouth shut.

But we shall see,

that it is not a fluke, or rather that it is a chance,

this is act immediately operated within the capitalist need,

of need for capital to unmask the real...

...at the same time and that debunks, ie...

...the nessecidade to 'trick' the consumer on the merchandise.

BASIC ELEMENTS OF LESS.

The position of the camera is the type called 'counter-bitten.'

Today and in the history movie, is not an innocent position.

She had been very well defined technical and social,

by Orson Welles in his early films.

The choice of framework is either innocent or neutral:

Fits the actress looking and not what the actress looks.

Fits the actress, so as if it were the star.

This is because, really, the actress is one starlet known internationally.

On the one hand, fits the starlet militating, and on the other,

in the same motion falls also the militant as starlet.

What it is not the same thing.

Or rather, what can be the same thing in Vietnam,

but not in Europe or the United States.

The next page is missing the that the militant looked at that picture,

but what he saw in other times.

In our opinion, is the sister of images...

...the same type as those transmitted by television...

...channels and newspapers of the world 'free'.

Images like those seen hundreds of thousands of times...

...(as many times as pumps)...

...and does not change anything,

except among those who struggle to organize...

...this chain of images in a certain way,

your way.

(7 points grt).

In fact, if this report was signed Dupont or Smith...

...the newspapers themselves would reject, for being too banal.

Really, we must admit...

...should be a trivial thing,

for the children of a community farm on the outskirts of Hanoi,

rebuild your school, say for the twentieth time,

After being destroyed by Phantom of Kissinger doctor.

But of course, no one will speak of this extraordinary banality,

or militant starlet, nor L'Express.

Nor will talk about what may have up said the.

American actress and their Vietnamese sisters,

that can be seen even so on the next page.

The American actress asked as it is interpreted in Vietnam...

...or as someone who plays in Hollywood may represent when in Hanoi...

...where back to Hollywood.

If L'Express does not speak of all, this is, in our opinion,

That the actress nor says anything about.

True, the militant spoke of pumps and levees.

But one should not forget that the militant is also an actress,

what is not, for example, or the court Russell nor Ramsey Clarke.

And, in our opinion, should take in mind that, by virtue of being an actress,

and White House officials will not have difficulties,

if anyone try to stop them,

to say that the actress was unconsciously manipulated by enemy hands.

And recites a memory text.

These criticisms can ruin easily...

...every effort of actress and activist.

And one should understand, why she continue...

...vulnerable to this kind of fact,

We believe that this case is due to that militant actress did not speak of dikes...

...starting from an example, as an actress Vietnamese fixing the first...

...and then...

...gives a theatrical spectacle in a village threatened by levees broke.

In this regard we believe, if the militants leave the actress...

...(and what they do at their level, the Vietnamese who use it).

Could get to represent their role historically...

...differently to Hollywood.

Perhaps the Vietnamese, have not directly need it yet.

But probably Americans yes,

and therefore, indirectly, the Vietnamese...

...(here we find the need for back.

(The Vietnamese are forced to stroll by the US).

In this photo, this reflection of reality,

two people are photographed front, the other on his back.

Of the two, one is clear , the other out of focus,

Pictured, the famous American is sharp and anonymous Vietnamese, smoky.

Indeed, the American left is hazy,

left the Vietnamese remarkably sharp.

But also in reality, the American right remains extraordinarily sharp,

while the Vietnamese right to 'Vietnamization' is increasingly erased.

What to think now of 'measure' of Joseph Kraft,

evaluating all the contradictions...

...regulated and consequently diaphragm and the distance?

Everything was measured, as it turned the purpose of the framework,

With a certain order to highlight the star militating...

...and thus obtain a certain product, a certain idea / merchandise,

and this, again, for some purpose.

Recall, the production of this product...

...is directly controlled by the North Vietnamese government.

But dissemination outside Vietnam is not.

When yes, very indirectly...

...(not to mention the feedback).

This broadcast is controlled by the chain TVs...

...and newspapers in the world 'free.'

There is therefore a part of movements that require a communication channel,

can not be made to the planned movements.

What moves? And that game, that game, is it?

Played and by whom? For whom? Against whom?

Let's say, just now (later we will return to this)...

...that examined the relationship clear I off...

...expressed by the two faces, realized something extraordinary:

The smoky face is the most crisp and sharp face is the most smoky.

The Vietnamese can afford to be smoky,

Because there is much that actually is crisp.

The US is bound to be sharp...

...(and the Vietnamese who smoky forces of this, in a very clear way).

The US is obliged to point out clearly its real esfuma��o.

But none of this was mentioned in the text.

This photo repeats another photo of actress...

...which appeared on the cover of the same number of L'Express.

The composition of this layer is very eloquent,

if we get the job to see that a photo can cover as much as discover.

A photograph imposes silence while speaking.

In our view,

is one of the technical bases of double aspect of Jekyll and Hyde,

principles and interests,

taking information / deformation when transmitted by images / sounds...

...= = in our time, the decline of imperialism and the general trend towards revolution.

The American left says often...

...that the tragedy is not in Vietnam, but in the United States.

The expression of militant face this photo is really a tragedy of expression.

But a social tragedy and technically formed by its origins, ie...

...formed / deformed by Hollywood school show-biz stanislawskiano.

The militant expression was the same in Tout va Bien, reel 3...

...when actress heard one extra sing a text Lotta Continua.

This type of expression also was the actress when in Kiute,

when he looked air compassionate and tragic his friend,

one police interpreted by Donald Sutherland,

and decided to spend the night with him.

On the other hand, it was the same type expression Fonda.

Used in the 40 to interpret the workers' exploited...

...of The Grapes of Wrath, the fascist future Steinbeck.

And even further in the paternal history of actress within the history of cinema,

is so the expression Henry Fonda had used...

...to throw deep and tragic looks blacks in Mr Young. Lincoln,

future admiral honor of the Navy, John Ford.

Still further, find this expression in the opposite camp,

when John Wayne is gracious the Vietnam War damage...

...in Green Berets.

In our opinion,

This term has been borrowed (principles and interests)...

...the mask exchanger New Deal of Roosevelt...

.

In fact, it is an expression of expression,

and appeared for a needed chance...

...at birth economical talkies.

It is an expression that talks, but speaks only to say how much we know...

...(about the Wall Street Crash, for example)...

...but will not say anything else.

We believe that for this reason the expression Rooseveltian...

...differs technically expressions that preceded it in the history of cinema,

Expressions of the great silent film star.

Lilian Gish, Rudolph Valentino, etc Falconetti.

Just to experience...

...and make all these faces look a picture of atrocities in Vietnam:

= = none will have the same expression.

Although all of them have the same expression look...

...???

Because before the talkies, film change had a materialistic technical basis.

The actor said: I am filmed...

...therefore I think...

...(at least I think I am filmed)...

...think because I am.

After talking there was a New Deal.

Between the filmed material (the actor) and thought.

The actor began to say:

Think (I'm an actor)...

...therefore I am (filmed).

Because I think I am.

I think, therefore I am.

As we have just seen in this experiment which deepens the Kulechov,

before the New Deal of expression,

each actor of the silent cinema had its own expression...

...and silent movies had real grassroots.

On the contrary, when the film speak as the New Deal,

each actor will stand up to saying the same thing.

You can do the same experience again.

With any starlet of cinema, sport or politics...

...think therefore I am.

This expression that says a lot,

This expression perhaps too...

...but that does not say neither more nor less...

...is therefore an expression that does not...

...an expression that does not help the reader to...

...see clearer in their obscure personal problems...

...(to see how Vietnam can enlighten them, for example ).

Why therefore be content and say:

�s already something, there is always something that sticks...

...(all union Tout va Bien speech, the reel 3).

Why, if an actress is not yet able to represent differently...

...(and we still are not able to help her properly to represent differently)...

...why the North Vietnamese should make do in this field?

Our view is that we risk them to do more harm than good,

to fabricate a good conscience so cheap...

...(known in scientific terms:

(The movement from 'negative entropy' to information not expensive).

After all, this expression also addresses us,

We do effort looking at her a second time.

That look and that mouth not tell us walk,

are emptied of meaning,

as the Czechs before the all-powerful Russian tanks boys...

...or large ventrezinhos of Biafra and Bangladesh,

or feet of the Palestinians in the mud carefully maintained by UNWRA.

Empty of meaning, careful capital know that wrap the clues,

you know refilling with the sense...

...empty the real look of their future enemies...

...already present and therefore should 'leave' do not look anywhere.

How to fight against this state of affairs?

Do not stop with the publication of these and photo in question...

...(immediately should remove to all the television and radio broadcasts,

in almost every country in the world, as well as all kinds of newspapers,

(which is a utopia).

No But they can be published otherwise.

And this 'otherwise' that starlets,

because of its monetary and cultural weight have a role to play.

An overwhelming role, as they say.

And the real tragedy is that they do not know how to interpret this amazing role.

What to do to learn how to represent you?

Still have many questions in Europe and the United States,

before you can answer clearly.

We propose some of them in Tout va Bien...

...(as Marx, in his time, starting from the German Ideology...

...came to propose the issue of Poverty of Philosophy against Proudhon,

(only knew philosophizing about the misery).

If we look closely at the North Vietnamese situated behind American actress,

Realize then that his face expresses something very different...

...of the American militant.

As much as not see what looks,

realized that face indicates that it faces every day:

Pumps, women and disemboweled dikes...

...the house had to be rebuilt by umpteenth time, or the hospital, the lesson to learn.

(Lenin said, first lesson: Learning, second lesson: Learning; Third lesson: Learn).

And the immediate reference that face the daily...

...struggle is possible for a very simple fact:

Is not only a revolutionary face, but a Vietnamese revolutionary's face.

A great past struggles is cruelly inscribed...

...long ago, that face, the imperialism French, Japanese and American.

In fact, that face is recognized, long ago...

...as the face of the revolution worldwide, even by his enemies.

Do not be afraid of the words:

�s a face that has gained independence of their communication code.

Any revolutionary face today,

Would not pass so as immediate as his, the daily combat.

Simply because no revolution, except the Chinese,

already made the long march of Vietnamese revolution.

Let the experience.

This black...

...can not say immediately why fight, where and how:

�n Detroit, in the factories of Chrysler...

...for a better salary and work less brutalizing?

In Johannesburg, the right of entry into a cinema...

...where white display white movies?

And this worker?

And this European?

And that Arabic?

And this young radical?

Tout va Bien also answers this question,

We must have the courage to say that we have nothing to say about this face,

unless there is a caption on the photo talk nonsense, that repeat on their own,

and we must have the courage to say that this...

...courage is only a weakness of confession:

'Re lost, we have nothing to say.

Unlike before that Vietnamese face, not need caption:

Worldwide will say, is a Vietnamese,

And the Vietnamese struggle for expel the Americans from Asia.

Rather, isolemos face American actress.

We see then that conveys nothing,

or rather does not transmit nothing but himself,

one himself that no is nowhere,

lost in infinite immensity of eternal tenderness a Piet� by Michelangelo.

Woman face not transmit any woman...

...(the face of the Vietnamese was a function that transmits real,

as the face of American.

(Is a function that does not transmit more than one function).

Face that could be a hippie needed drug,

that of a student, Eugene, Oregon,

when your favorite, Pr�fontaine, just miss the Olympic 5,000 meters,

= = and a passionate abandoned by her love,

and also a militant in Vietnam.

Is it too.

There is too much information in a space I too little time.

At the same time, we are certain that it is a militant thinking in Vietnam...

...and uncertain of the whole,

Because it could be thinking about any thing, as we have proof.

So we must finish asking ourselves:

As a picture of a militant (or actress)...

...not thinking necessarily in Vietnam...

...is published exactly in place of an actress (or militant)...

...thinking necessarily in Vietnam?

Because the reality is there this photo:

A star makeup discovery by their own lack of makeup.

But L'Express does not say that...

...because it would be a beginning of revolution in journalism.

It would be a beginning of revolution say in Europe or the United States that,

Currently, you can not take...

...a picture of someone thinking of something.

(Vietnam, Ford, factory, beach, etc. ).

They will say that deceive us into isolate a part of the photo...

...when this part is not published alone.

It is a bad argument.

Just to isolate to show that, indeed,

was alone and that the tragedy lies in that solitude.

Because if we isolate this face,

so it lets do it,

Unlike the Vietnamese face which remains stuck to its environment...

...even try to observe it as alone.

It's definitely a counter plan.

Conversely, in this picture, there is no possibility of a counter plan.

No counter-plan.

This expression employed by actress is known in France long ago.

Is the operating model of Cartesian thinking:

Think therefore I am,

the same that inspired Rodin and his statue 'The Thinker.'

More would walk the famous statue where want there to be a catastrophe.

Order to soften the pasta.

Fraud of capitalist art, the capitalist humanism...

...burst then.

We must understand that a starlet can not think,

because it is a social function: �s thought, and makes you wonder...

...(witness the performances of great thinkers like Marlon Brando...

...or any other sons of bitches,

to understand why the capital needs support of an art of this kind,

to reinforce the philosophy idealistic in their fight...

...(against the materialistic philosophy of Marx, Engels,

Lenin and Mao, representing their people in this field).

We have just said: �solemos, the contrary, the face of American actress.

Isolemos now, the words 'unlike' in this sentence...

...(isolate, split: Revolutionary division, said Lenin,

fighting against capitalist division of labor).

We then see that the figure of the American militant...

...and the North Vietnamese are contrary.

And what really happens in the imaginary reality that image...

...is, in our opinion, the fight these opposites.

The American eye is content to read the word horror in Vietnam.

The Vietnamese eye sees the reality American in all its horror.

In this scene, the Vietnamese appears in the background, as an extra,

and behind it, we can feel the overwhelming power of...

...machine assembled by the collective North Vietnam / Vietcong.

Behind figuring this starlet is also the vile and terrible capitalist machine,

filled with a cynically humble speech and confusion into clarity...

...(as Lelouch says in L'aventure, c 'est I'aventure).

In short, the struggle between what still is and what is already,

between the old and the new.

The fight is not limited to act of taking this photograph,

which is perpetuated by way as the photo was published,

and the fact that as people who are in cinema are looking for this Photo...

...right now.

Fight between process of production and the diffusion process,

second who runs over and over, the capital or the revolution.

OTHER ELEMENTS ELEMENTS.

By running the risk of making disclose this photo, the North Vietnamese are right.

Or rather have their reasons.

This picture is the role Small Screw.

In the development of the scheme its current diplomatic-military offensive.

This photo is one of thousands given by the Vietnamese people with his blood,

to replicate the crimes American war.

Note in passing, Jane, that the collective Vietcong / North Vietnam...

...rarely publishes atrocities in their documents,

although publish, yes often fighting.

To give this reply here...

...represented here by the Committee friendship with the American people,

invited the actress Jane Fonda.

It is, therefore, play a role of.

Unlike many other Americans...

...accepted that the actress paper and therefore has moved.

Was to Hanoi to catch the service of the Vietnamese revolution.

Now we can ask ourselves: How to put the service?

Or more accurately: As plays that role?

The American actress in action in this photo...

...serve the Vietnamese people in their struggle for independence,

but not in the serves only Vietnam...

...but the US in particular and also in Europe,

since the photo reached us.

That is, that we we look this photo here,

are freely bound to ask, serves in this photo?

E first: �t serves us to serve in Vietnam?

(And Vietnam that requires us to formulate this question).

Synthesized ELEMENTS.

Neither L'Express, nor the militant American made a difference between.

Jane Fonda talks, questions, and Jane Fonda, listen.

For the Vietnamese, this time history of their struggle.

The most important fact about the photo is that Jane Fonda is in it.

(Because silence is also eloquent, but this is not said).

The important thing is that it is there.

But here, in 1972, the main element is not necessarily the same.

We have to know that force acts behind this 'forcibly'.

We find ourselves obliged to insist that the photo foot lying...

...saying that the actress spoke the inhabitants of Hanoi...

...when the picture showed that the militant was hearing.

We need the contradictory truth of this picture and not its eternal truth.

It is important for us to insist that the L'Express mind at all levels,

but it is important to add that the paper can lie,

this is because the photo permits.

Actually, L'Express takes advantage (loss and profit)...

...implicit authorization for this photo conceal the fact that the militant hear.

Because saying that speaks, and that speaks of peace in Vietnam.

L'Express can silence about that peace is about,

leaving their investigation into the picture, as if implying that the photo needs,

Itself, that kind of peace it comes, when we saw that is not so.

But if L'Express can act thereby...

...is probably because the American actress militate but saying peace in Vietnam...

...no question that peace exactly or in particular that Peace in America.

And if you ask, or not can not,

because is still does not act as an actress and not as a militant, but, on the contrary,

because while militant is not proposed yet no question.

On new approaches or styles can be applied to their functions...

...as an actress, both technically and socially.

In other words, it does not consider militant activity as an actress,

emboras the North Vietnamese to invited precisely as such, as a militant actress.

Short, speaks from a different place from where is in America...

...which is what matters primarily to Vietnamese.

Hence the fact that it also conceals the most...

...important in this picture is his listening,

Listen Vietnam, before talking about it.

But at the same time, Nixon, Kissinger and the infamous Porter hear nothing,

not want to hear absolutely nothing in Paris Meetings.

Hence their disguises that, anyway, it is necessary to unmask.

And expose Nixon is not to say: Peace in Vietnam.

Because he also says that (and Brezhnev too).

I must say the opposite of it.

It must be said: I hear that the Vietnamese tell me who want peace in their country.

It must be said:

As an American, shut up,

because I recognize that I have nothing to say about it,

Lies with Vietnamese say what they want,

me hear them and then do what they want,

because I have nothing to do with Southeast Asia.

The rest is masked.