“My pal Hayao Yamaneko has found a solution: if the images of the present don’t change, then change the images of the past.
“He showed me the clashes of the sixties treated by his synthesizer: pictures that are less deceptive he says—with the conviction of a fanatic—than those you see on television. At least they proclaim themselves to be what they are: images, not the portable and compact form of an already inaccessible reality. Hayao calls his machine’s world the ‘zone,’ an homage to Tarkovsky.
“What Narita brought back to me, like a shattered hologram, was an intact fragment of the generation of the sixties. If to love without illusions is still to love, I can say that I loved it. It was a generation that often exasperated me, for I didn’t share its utopia of uniting in a common struggle those who revolt against poverty and those who revolt against wealth. But it screamed out that gut reaction that better adjusted voices no longer knew how, or no longer dared to utter.
“I met peasants there who had come to know themselves through the struggle. Concretely it had failed. At the same time, all they had won in their understanding of the world could have been won only through the struggle.
“As for the students, some massacred each other in the mountains in the name of revolutionary purity, while others had studied capitalism so thoroughly to fight it that they now provide it with its best executives. Like everywhere else the movement had its postures and its careerists, including, and there are some, those who made a career of martyrdom. But it carried with it all those who said, like Ché Guevara, that they ‘trembled with indignation every time an injustice is committed in the world.’
“They wanted to give a political meaning to their generosity, and their generosity has outlasted their politics. That’s why I will never allow it to be said that youth is wasted on the young.”
- Sans Soleil at 00:39:49. Director: Chris Marker.
Posts Tagged ‘revolution’
