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Dear Jane,

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In the advertising brochure
accompanying Tout va Bien

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festivals in Venice, Carthage,
New York and San Francisco

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we prefer to put
your picture in Vietnam

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in place of film stills.

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We found this photo in a number of
L'Express in early August 72

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and we think it will allow us to
speak very concretely

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the problems
presented by Tout va Bien.

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It is not absolutely
divert the conversation

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and not talking about Tout va Bien,
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as if we were afraid
speaking of this film.

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Absolutely.

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This is a way of not
marking time,

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(As troops
puppet Thieu Quang-Tri)

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which eventually leads to
go over the other.

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(As of 7th howitzers
fleet of Quang-Tri).

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It is, therefore, a spin

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but it is worth a expression,

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Direct a rodeo.

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That is,

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a revolution that will enable us to tackle,
directly, the terrible problems that small,

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

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And before speaking, then
and in every way,

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and the qualities
defects in our movie

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prefer to ask critical
reporters, to viewers,

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that may have to do with us and the effort
analyzing this your picture in Vietnam

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Taken a few months later
the film we made in Paris.

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

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

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And this for a very simple reason.

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This photo answers the same
question that the film features:

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what role should play
intellectuals in the revolution?

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To this question,

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the picture gives a practical answer

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(The answer is practice).

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This photo shows you,

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really you, Jane,

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in the service of freedom
Vietnamese people.

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Tout va Bien also
answer this question,

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but not the same.

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Because less certain that the
Photo of responses to,

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the film exposes other questions first.
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And they arrive, after all,

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

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As proposed, then this question?

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The film still does not answer accurately.

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But the way because even
answer is not, in fact,

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an indirect way of
propose new questions.

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Because there is no point to old
answers to new questions

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presented by the current development
of revolutionary struggles.

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You need to learn, even so,
to formulate these new issues.

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And learn from those who,

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although they have not had time to
write clearly these new issues,

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already conquered the land where
can flourish and expand,

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and won with a new practice.

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We we told you that the way in which,

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does not truly answer
as the Vietnamese and you in this photo,

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was an indirect way of
first present new issues.

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An indirect way.

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A awry.

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Now you can understand why

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the need for a rodeo
before speaking of the film.

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And why a spin by Vietnam?

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First,

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because everyone agrees that there
present new issues really.

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And then, because you were with them

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after you have been with us.

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Hence, when looking at this photo of a
actress in the theater of military operations,

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our desire to interrogate her.

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Not to question
actress, and yes, the photo.

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And for us, this equates to submit
a number of new issues

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the classical response
the Vietnamese and you

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gave this famous question of
intellectuals, taking and disseminating this photo.

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Also something intervenes
More in our decision
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to take this photo to
strolling by Vietnam.

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That something is our desire to make a
discussion of the film with the audience,

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whether or not journalists.

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Everyone is their own
journalist and his own publisher

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depending on how it develops
daily activity of each in a movie

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posing as star
this film.

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

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we want to talk.

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To talk with the viewer.

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

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Because, in the same way as a
film is a kind of turning

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which brings us back to ourselves

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anyway, back to the movie,

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must perform this
rodeo in ourselves.

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And here in America, "ourselves" I mean,
first still and always, Vietnam.

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Let us explain this with
a little more spaciousness.

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We think it's important
and urgent talk

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a little to those who gave
work to see our movie.

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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
which may present issues,

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if they wish,

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or to respond to
questions exposed by us.

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Viewers have to be able to reflect.

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

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

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(Or answers)

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and we can respond
(Or question)

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with something different answers (or questions)
also prefabricated (and answers?)

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But, prefabricated by
Who? For who? Against who?

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That is, the possibility to introduce a
real discussion of Tout va Bien,

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we situate outside Tout va Bien.
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To speak of this machine, we
leaving the factory that uses.

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Meet our base
discussion outside the cinema,

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away to come back.

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And when we return, we will leave
again with best step

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toward the real problems
true of our material life,

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which the film will not have
been only one element.

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We will not leave, nor
abandon Tout va Bien.

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Instead, we from him,
starting to go somewhere else,

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for example, Vietnam,
as you back away.

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But, and this is important,
we will with our own means.
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That means it comes?

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Our technical work
and the use social which makes them

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(You in this picture, in Vietnam,
us with the film in Paris)

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and from this use exactly
can better judge.

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And for once, we are not alone,

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the viewer will be there too,

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will produce the same
time they consume,

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and we will consume the same
the time that will produce.

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Perhaps all this will seem complicated.

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As Lenin said Vertov:

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is that the truth is simple, but
is not simple to tell the truth.

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

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Well Let's put it another way.

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At present, it is often said
that cinema must "serve the people".

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Very well.

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Instead of theorizing about
defects and quality Tout va Bien,

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let us go to Vietnam.

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But we by and with the
means of Tout va Bien.

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Let's look if one can say so,

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as Tout va Bien "works" in Vietnam.

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We may take, possibly, some
conclusions of this practical example,

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on things to do and avoid,

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each of us where there is,

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

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Let's use this picture to go
Vietnam to investigate this issue:

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how cinema can help people
Vietnamese to win its independence

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And as we have said several times,

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we are not the only ones to use
this photo to go to Vietnam.

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Thousands of people did,

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probably almost here
everyone has seen this photo

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and during a few seconds, its
way it is served to go to Vietnam.

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Exactly, that's what we
think are important to know:
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how each used this
photo to go to Vietnam;

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truth: and as they went to Vietnam.

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Because Dr. Kissinger also
Vietnam goes to several times per year.

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

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and that relationship can be
between this picture and Tout va Bien.

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And he and his friends say
this is not serious,

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we would do better talking
film, art, etc..

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But one should realize the effort
see these types of reflections

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contradict themselves when
Proposals thus

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complicate and obstruct all the way
other simpler questions
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(As can be said for
ordinary people).

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For example, before
say, "that relationship"

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we must first ask:
"There is even a relationship"?

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And then, it can be asked
what is the relationship.

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Having discovered the relationship,
we will find out a little further,

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that the relationship between our film
and this picture

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in this issue of the expression

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And eventually we can judge
its importance,

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ie establish other relationships

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with other important questions
and other important responses.

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Say that this is
folly, bla-bla-bla,

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

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the question of the importance,

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what others call the question
practical result,

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appears as a
very important issue.

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And that's because the North Vietnamese / Vietcong

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already answered the question about
the importance of this photo,

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able to do it in post
all parts of the "free" world

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(This same world
that holds free)

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demonstrating that the
importance he attached to this picture,

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the importance he attached to
question of the practical results,

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the importance he attached to
question of what is important.

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

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with your help, Jane

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decided to give the famous question
we did at the time:

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what role should play
revolutionary struggles in the film?

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In other words: what is the role
intellectuals in the revolution?

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

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(The response of an entire people;

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takes up the photo and publishes

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and is thereby made to have the
security and certainty that it will be published,
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both here and there,

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what is a fact, because the
Otherwise, we would not have it).

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Tout va Bien answers
be a question too.

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But, from another location and
differently.

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One way is to say:

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where we are in France, in 1972,

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governed by friends
Americans and Russians,

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nothing is so clear,
nothing is so obvious

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(Remember, particularly, of
Fidel Castro, saying that the UN,

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for revolutionaries,
never evident truths,

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that imperialism was
whom had invented,

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and that major expertly served the
evident truths to oppress small).

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

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but we strive to
do them differently;

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in a nutshell: do questions
new power to give new answers.

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For example, let's look at how the Vietnamese
translate their combat and do questions

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since we also want
translate our struggle.

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And, firstly,
honestly ask ourselves

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what allows us to say
what really fight.

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But perhaps at this point,
you, Jane, we ask:
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why this picture of me and not
Clarke one of Ramsey, for example?

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

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Simply You, Jane,
because of Tout va Bien

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and because no solution in the film
was the same as in this picture.

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You're an actress.

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Naturally, we are all
actors in theater history,

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but in addition, you
film and makes us too.

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So say why you
not Yves Montand in Chile?

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He was also in the movie.
It is true.

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But it appears that the
Chilean revolutionaries
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not consider it appropriate
release photos of Yves,

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while the revolutionaries
Vietnamese mutual agreement with you,

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considered appropriate
disclose your photos

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(In fact, release photos of
its agreement with the Vietnamese cause).

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Also there is another
problem, inevitable.

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

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In Vietnam the question does not
presents this way, but rather here.

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

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because we criticize,
a little or a lot,

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their way to intervene in this photo.
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Hurt, because they are always, eternally,
arranged buzzwords to attack the girls.

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And for no other reason,

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hope you will answer
speakerphone our letter,

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As we read in two
or three sites in the United States.

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

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things are still,
or has become in this way.

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And you and we are in
even resort

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that this picture can
serve as revealing.

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We left there.

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You in the USA. Of us in Paris.

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You in us
Paris. You in Vietnam.

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00:14:30,650 -> 00:14:35,239
Us in Paris looking at you
Vietnam. Of us, we the USA.

242
00:14:35,350 -> 00:14:40,006
And everybody in this room
movies, listening to us and watching you.

243
00:14:40,718 -> 00:14:42,204
We left it all.

244
00:14:42,708 -> 00:14:47,458
All this is organized from a
somehow works in a certain way.

245
00:14:48,156 -> 00:14:50,755
We want to discuss it, from there.

246
00:14:51,507 -> 00:14:55,150
From Tout va Bien, go to
Vietnam, back to Tout va Bien,

247
00:14:55,655 -> 00:14:59,994
ie returning from Vietnam to this
room where juts Tout va Bien

248
00:15:00,425 -> 00:15:04,456
and immediately return to
home, and tomorrow back to the factory.

249
00:15:05,087 -> 00:15:06,895
To speak of all this,

250
00:15:07,191 -> 00:15:09,649
slip on this photo
the eyes of people.
251
00:15:10,241 -> 00:15:11,932
Or rather, we make it slide

252
00:15:11,967 -> 00:15:14,773
because the North Vietnamese
and you already had slipped.

253
00:15:15,317 -> 00:15:18,675
Put another way:
Ask, and ask ourselves:

254
00:15:19,116 -> 00:15:22,513
we looked at this photo?
What we had seen it?

255
00:15:22,990 -> 00:15:25,593
And for every question
discovers another.

256
00:15:26,034 -> 00:15:31,518
For example: we look at this photo? As
worked our gaze to look at this photo?

257
00:15:32,299 -> 00:15:35,932
And what makes it work
thus and not otherwise?

258
00:15:36,346 -> 00:15:37,658
And another question:

259
00:15:38,144 -> 00:15:42,368
what makes our voice interpreting
this look this way and not another?

260
00:15:43,043 -> 00:15:45,075
Tout va Bien presents
all these questions,
261
00:15:45,882 -> 00:15:49,457
that can be summed up in the great question

262
00:15:50,185 -> 00:15:53,791
the role of intellectuals
in revolutionary struggles.

263
00:15:54,151 -> 00:15:59,224
Or better said, we started
to see that this great and famous

264
00:15:59,259 -> 00:16:03,961
question of intellectual
locks itself when proposing.

265
00:16:04,305 -> 00:16:06,298
And the other blocks.

266
00:16:06,660 -> 00:16:08,291
And finally,

267
00:16:08,488 -> 00:16:11,624
is no longer a question
belongs to the field of revolution.

268
00:16:11,523 -> 00:16:13,820
The current question of the revolution

269
00:16:14,433 -> 00:16:19,645
(Discover the purpose of this
Photo therefore the purpose of the film)

270
00:16:20,210 -> 00:16:23,502
would, moreover:
how to change the old world?

271
00:16:24,181 -> 00:16:27,483
Immediately we see that
the old world of the Vietcong

272
00:16:27,977 -> 00:16:30,990
is not the same as the
an intellectual western

273
00:16:31,590 -> 00:16:36,630
the old world is not a Palestinian
the same as that of a black boy in the ghetto,

274
00:16:37,143 -> 00:16:42,406
the old world of a worker
Renault is not even his girlfriend.

275
00:16:43,639 -> 00:16:46,997
We see that this photo gives
therefore, a practical response

276
00:16:47,037 -> 00:16:49,381
this question of changing the old world.

277
00:16:50,169 -> 00:16:55,330
Let us therefore examine this
Photo / response, investigate.

278
00:16:56,150 -> 00:16:57,776
Some evidence extracted it.

279
00:16:58,252 -> 00:17:00,431
Let's analyze them
and synthesize them.

280
00:17:00,994 -> 00:17:06,704
Let us explain the organization
of the elements of this photo.

281
00:17:07,530 -> 00:17:13,649
Let us explain it with one hand as if
were a core physical and photographic
282
00:17:14,218 -> 00:17:19,329
and secondly, as it were
a cell-photographic society.

283
00:17:20,219 -> 00:17:25,657
Then try to relate research
scientific and research more directly political

284
00:17:26,267 -> 00:17:28,468
("Where do ideas come correct:

285
00:17:28,940 -> 00:17:34,258
the struggle for production, the class struggle
and scientific experimentation "Mao).

286
00:17:34,869 -> 00:17:37,960
Conduct this research,
interrogate this photo,

287
00:17:38,562 -> 00:17:43,798
what is it but to know how to treat
was given the answer that the photo gives

288
00:17:44,436 -> 00:17:46,860
(Under the conditions of the struggle in Vietnam).

289
00:17:47,518 -> 00:17:51,125
We will see if this response is
entirely satisfactory for everyone

290
00:17:51,381 -> 00:17:52,595
(For whom? Against who?)

291
00:17:53,261 -> 00:17:57,123
and perhaps does not begin
other questions arise,

292
00:17:57,158 -> 00:18:02,039
the same as that in order better
or worse, Tout va Bien proposes.

293
00:18:02,980 -> 00:18:07,345
For example, we see that in
Regarding an important part of the picture

294
00:18:07,784 -> 00:18:12,716
(Expression of actress
the relation mouth / eyes)

295
00:18:13,093 -> 00:18:17,390
in Western Europe, in our
understand, can not satisfy us

296
00:18:17,790 -> 00:18:23,667
the same way that their authors,
who took or decided to take this photo

297
00:18:24,092 -> 00:18:25,612
(The collective North Vietnamese / Viet Cong,

298
00:18:26,548 -> 00:18:30,594
which is absolutely normal at first
view, when the conditions are different;

299
00:18:31,146 -> 00:18:35,965
but you still need to consider
attentive and so obstinately as they,

300
00:18:36,540 -> 00:18:38,750
which determines that the "normal").

301
00:18:39,294 -> 00:18:41,077
Saying this does not equate
to act simply as

302
00:18:41,600 -> 00:18:44,859
most communist parties
the West and its support

303
00:18:45,328 -> 00:18:47,224
(Pope, the UN, the Red Cross)

304
00:18:47,692 -> 00:18:50,767
saying simply: we help
Vietnam to achieve peace.

305
00:18:51,458 -> 00:18:55,899
Unlike, say we have
said is something much more precise

306
00:18:56,440 -> 00:19:00,653
eg: we help the alliance
North Vietnam and South Vietnam

307
00:19:01,060 -> 00:19:02,980
achieve his peace.

308
00:19:03,375 -> 00:19:05,005
And more precisely:

309
00:19:05,203 -> 00:19:10,416
since to change their old world,
Vietnam helps us to change our,

310
00:19:10,866 -> 00:19:13,407
how can we in reciprocity
help you, really?

311
00:19:13,764 -> 00:19:16,412
And since the collective
North Vietnam / Vietcong

312
00:19:16,899 -> 00:19:20,267
fight, criticizes and transforms
Southeast Asia,
313
00:19:20,800 -> 00:19:24,942
how can we fight our place
to change Europe and America?

314
00:19:25,514 -> 00:19:29,591
Of course, it is something broader
to say: "Peace in Vietnam"

315
00:19:30,020 -> 00:19:35,471
and to conduct more thorough
to create two or three Vietnams,

316
00:19:35,968 -> 00:19:40,538
and hence that Marx (in the preface
the first edition of Capital)

317
00:19:40,948 -> 00:19:44,844
readers complain without fear
and "minutiae" to overthrow

318
00:19:45,464 -> 00:19:49,382
"The king of hell and
release the devils. "

319
00:19:50,429 -> 00:19:54,456
A few months before this
your photo, Jane, and Vietnamese,

320
00:19:55,042 -> 00:20:00,004
and today before ourselves, each can
do if you want, your own research.

321
00:20:00,310 -> 00:20:02,503
Soon, we will compare
freely the results.

322
00:20:03,052 -> 00:20:08,983
We may take the floor without
for it, get it from listening.

323
00:20:09,520 -> 00:20:11,539
In short, perhaps
for a brief moment,

324
00:20:12,101 -> 00:20:15,655
possible to say the least
stupidity on us and the revolution.

325
00:20:15,924 -> 00:20:17,295
Still more.

326
00:20:17,671 -> 00:20:19,877
So you do not
feel personally attacked

327
00:20:20,411 -> 00:20:22,008
but not really able to avoid it

328
00:20:22,494 -> 00:20:25,133
(Think the question is
misrepresented in this way, and,

329
00:20:25,649 -> 00:20:29,103
the end of this letter also
we have progressed in this regard,

330
00:20:29,538 -> 00:20:33,431
and for this we would need very
you would respond directly,

331
00:20:33,842 -> 00:20:36,989
since it not only write
as directors of Tout va Bien,

332
00:20:37,439 -> 00:20:40,249
but as readers of this photo.
333
00:20:41,006 -> 00:20:44,119
And should recognize that it is first
Since people who saw your picture

334
00:20:44,595 -> 00:20:47,898
he writes thus concerning
that he saw his picture in a newspaper).

335
00:20:48,534 -> 00:20:52,224
To not feel
direct target, we would say,

336
00:20:52,642 -> 00:20:57,534
who feels that the target is not Jane,
but rather a function of Jane Fonda,

337
00:20:57,990 -> 00:21:01,814
talk to interrogate this photo
you in the third person.

338
00:21:02,280 -> 00:21:04,641
Jane did not tell you this or that,

339
00:21:05,058 -> 00:21:10,528
we say the actress or militant, incidentally,
as does the text accompanying the photo.

340
00:21:10,851 -> 00:21:12,915
Here, then, which
are, in our opinion,

341
00:21:13,453 -> 00:21:16,709
the main elements
(And the elements of the elements)

342
00:21:17,414 -> 00:21:19,882
that play a role
important in this photograph
343
00:21:20,537 -> 00:21:25,237
published in the French newspaper L'Express
the beginning of August 1972.

344
00:21:25,807 -> 00:21:27,381
BASIC ELEMENTS

345
00:21:28,305 -> 00:21:31,906
This photo was taken at the request
government of North Vietnam,

346
00:21:32,434 -> 00:21:33,999
as a representative at the time

347
00:21:34,429 -> 00:21:39,415
the revolutionary alliance between the peoples
South Vietnam and North Vietnam.

348
00:21:40,209 -> 00:21:46,371
This photo was taken by Joseph Kraft,
set at the foot of the picture for a text

349
00:21:46,888 -> 00:21:50,254
that was not written by anyone
participated in action taking the picture,

350
00:21:50,816 -> 00:21:52,744
but for those who disclose;

351
00:21:53,200 -> 00:21:56,847
ie, by a text written by
one or more editors of L'Express,

352
00:21:57,408 -> 00:22:02,449
without consultation with the North Vietnamese delegation
in France (checked it).

353
00:22:03,107 -> 00:22:05,132
This text says that it is

354
00:22:05,167 -> 00:22:08,232
one of the most known and
moderate American journalists.

355
00:22:08,524 -> 00:22:09,873
The text says, also

356
00:22:10,245 -> 00:22:13,163
that the actress is a militant
passionate for peace in Vietnam.

357
00:22:14,153 -> 00:22:17,761
But the text does not speak of
Vietnamese who appear in the photograph.

358
00:22:18,333 -> 00:22:20,494
For example, the text says:

359
00:22:20,905 -> 00:22:23,528
Vietnamese is not seen in the background

360
00:22:23,902 -> 00:22:27,844
Vietnam is one of the least
known and less moderate.

361
00:22:28,451 -> 00:22:32,091
This photo, like all
photo, is physically changes.

362
00:22:32,638 -> 00:22:35,533
And the mouth speaks foot photo.

363
00:22:36,536 -> 00:22:39,895
This photo does not walk
stresses, makes telling

364
00:22:40,212 -> 00:22:43,539
(Because the speech and picture
says things in his own way)

365
00:22:43,977 -> 00:22:49,371
the militant ranks first
TVs and Vietnam last.

366
00:22:50,019 -> 00:22:54,108
Foot says: "Jane Fonda asks
some inhabitants of Hanoi ".

367
00:22:54,867 -> 00:22:57,607
But the newspaper does not publish
the questions asked,

368
00:22:57,946 -> 00:23:02,410
nor the answers given by representatives
Vietnamese people in this photo.

369
00:23:03,183 -> 00:23:06,480
It can be seen that
that foot, it does not describe

370
00:23:06,912 -> 00:23:10,834
Jane Fonda asks,
and yes, Jane Fonda hear.

371
00:23:11,816 -> 00:23:17,781
And you might not have heard
more than 1/250 sec,

372
00:23:18,479 -> 00:23:24,869
but this is 1/250 that
registered and published.

373
00:23:25,364 -> 00:23:29,019
Undoubtedly, in speaking thus,
foot simply means
374
00:23:29,586 -> 00:23:32,738
which is a snapshot taken
during the course of a discussion

375
00:23:33,212 -> 00:23:36,941
in which the actress / activist questioned,
actually, some inhabitants of Hanoi

376
00:23:37,583 -> 00:23:42,736
and therefore should not be given
importance to this detail mouth shut.

377
00:23:43,470 -> 00:23:45,384
But we shall see later,

378
00:23:45,719 -> 00:23:49,870
it is not a coincidence, or
rather, it is a random,

379
00:23:50,534 -> 00:23:54,665
this act is immediately exploited in
within the capitalist need,

380
00:23:55,393 -> 00:23:58,324
the need for capital
to unmask the real

381
00:23:58,820 -> 00:24:01,927
at the same time and that
unmasks, or

382
00:24:02,230 -> 00:24:05,556
the nessecidade to "trick" the consumer
on the merchandise.

383
00:24:07,092 -> 00:24:11,378
BASIC ELEMENTS LESS

384
00:24:12,046 -> 00:24:14,938
The position of the camera
is of the type called 'counter-bitten. "

385
00:24:15,418 -> 00:24:21,475
At present and in history
cinema is not a position innocent

386
00:24:22,070 -> 00:24:26,243
She had been very
defined technical and socially

387
00:24:26,855 -> 00:24:28,952
by Orson Welles in
his early films.

388
00:24:29,871 -> 00:24:33,389
The choice of framework
Nor is innocent or neutral:

389
00:24:33,990 -> 00:24:40,747
fits the actress looking
and not what the actress looks.

390
00:24:41,683 -> 00:24:44,975
Fits the actress therefore
as if the star.

391
00:24:45,807 -> 00:24:49,954
And this because, really, the actress is
one starlet internationally known.

392
00:24:50,574 -> 00:24:54,457
On the one hand, falls within the
militating starlet, and secondly,

393
00:24:55,291 -> 00:24:58,766
in the same movement fits
also militant as showgirl.
394
00:24:59,484 -> 00:25:01,173
What is not the same thing.

395
00:25:01,960 -> 00:25:05,019
Or better, which may be
the same thing in Vietnam

396
00:25:05,636 -> 00:25:07,973
but not in Europe
or the United States.

397
00:25:08,925 -> 00:25:13,611
On the next page does not appear
the militant looked in this photo,

398
00:25:14,256 -> 00:25:16,396
but what he saw in
other times.

399
00:25:17,035 -> 00:25:20,373
In our opinion, it is the
same chain of images

400
00:25:20,850 -> 00:25:27,041
of the same type as those transmitted by
television stations and newspapers in the "free" world.

401
00:25:27,886 -> 00:25:30,598
Images like those seen
hundreds of thousands of times

402
00:25:31,086 -> 00:25:32,840
(Often as pumps)

403
00:25:33,517 -> 00:25:35,139
and change nothing,

404
00:25:35,571 -> 00:25:39,025
except among those who struggle to organize
this chain of images in a certain way,

405
00:25:39,421 -> 00:25:40,444
your way.

406
00:25:41,217 -> 00:25:43,108
(7 points of g.r.t.)

407
00:25:43,602 -> 00:25:47,891
In fact, if this story
Dupont was signed or Smith,

408
00:25:48,478 -> 00:25:52,321
the newspapers themselves would reject,
for being too banal.

409
00:25:52,781 -> 00:25:54,694
Actually, we
admit

410
00:25:55,232 -> 00:25:57,739
it should be a trivial thing,

411
00:25:58,257 -> 00:26:01,557
for boys of a community
farm on the outskirts of Hanoi,

412
00:26:02,087 -> 00:26:04,420
rebuild their school,
say for the twentieth time,

413
00:26:05,020 -> 00:26:08,067
after being destroyed by
Phantom Doctor Kissinger.

414
00:26:08,513 -> 00:26:12,977
But, of course, no one will speak
this extraordinary banality,
415
00:26:13,374 -> 00:26:17,333
nor militant starlet,
nor L'Express.

416
00:26:18,042 -> 00:26:23,101
Nor will talk about what may have been
said the American actress and her sisters Vietnamese

417
00:26:23,522 -> 00:26:27,675
it can be seen that
so, on the next page.

418
00:26:28,263 -> 00:26:31,208
The American actress asked
as it plays in Vietnam

419
00:26:31,630 -> 00:26:34,863
or as someone who plays in Hollywood
can pose when in Hanoi

420
00:26:35,204 -> 00:26:37,156
where back to Hollywood.

421
00:26:37,651 -> 00:26:41,049
If L'Express does not speak for all,
this is, in our opinion,

422
00:26:41,719 -> 00:26:44,489
that neither the American actress
says anything about it.

423
00:26:44,894 -> 00:26:49,147
It is true that militant
spoke of pumps and dikes.

424
00:26:49,777 -> 00:26:53,299
But one should not forget that
militant is also an actress,
425
00:26:53,765 -> 00:26:59,136
that is, for example, neither
Russell Tribunal nor Ramsey Clarke.

426
00:26:59,980 -> 00:27:03,060
And, in our opinion, one should take
into account that, by being an actress,

427
00:27:03,552 -> 00:27:06,423
and White House officials
will have no difficulty,

428
00:27:06,800 -> 00:27:08,211
if anyone tries to stop them,

429
00:27:08,810 -> 00:27:13,709
to say that the actress was unconsciously
manipulated by enemy hands.

430
00:27:14,239 -> 00:27:18,978
and recites a text memory.

431
00:27:19,575 -> 00:27:21,992
Such criticism might
ruin easily

432
00:27:22,588 -> 00:27:25,671
all the efforts of actress and activist.

433
00:27:25,825 -> 00:27:32,931
And one should understand, why she continues
vulnerable to this kind of fact,

434
00:27:33,510 -> 00:27:37,227
We believe that in this case, due to which
the actress did not speak militant dykes
435
00:27:37,771 -> 00:27:44,630
starting from an example, such an actress
Vietnamese that the first notice,

436
00:27:43,557 -> 00:27:46,216
and then

437
00:27:46,937 -> 00:27:51,618
gives a play in a village
threatened by levees broke.

438
00:27:53,280 -> 00:27:58,961
In this regard we believe that
the militant leave the actress

439
00:28:00,214 -> 00:28:03,909
(And it's what they do at their level,
the Vietnamese who use it)

440
00:28:04,450 -> 00:28:06,786
could begin to represent
its role historically

441
00:28:07,232 -> 00:28:10,068
differently to Hollywood.

442
00:28:10,485 -> 00:28:13,495
Maybe the Vietnamese have not
directly require it yet.

443
00:28:14,105 -> 00:28:15,890
but probably, yes Americans,

444
00:28:16,478 -> 00:28:18,927
and therefore, indirectly,
the Vietnamese

445
00:28:20,112 -> 00:28:23,019
(Here we find the
need back.

446
00:28:23,454 -> 00:28:26,714
The Vietnamese are forced
to stroll by the U.S.).

447
00:28:27,287 -> 00:28:30,608
In this photo, this reflection of reality

448
00:28:31,078 -> 00:28:35,431
two people are photographed
front, the other back.

449
00:28:35,988 -> 00:28:39,663
Of two people, one is
clear, the other out of focus,

450
00:28:40,212 -> 00:28:46,426
in the photo, the famous American is sharp
and the Vietnamese anonymous smoky.

451
00:28:47,083 -> 00:28:51,780
Actually, the left
American is hazy,

452
00:28:52,351 -> 00:28:55,623
left Vietnamese
extraordinarily clear.

453
00:28:56,382 -> 00:29:01,457
But also in reality, the American right
remains remarkably sharp,

454
00:29:01,975 -> 00:29:07,048
while the right Vietnamese, the
"Vietnamization", is increasingly erased.

455
00:29:07,515 -> 00:29:10,542
What to think, now, the
"Measure" of Joseph Kraft,

456
00:29:11,138 -> 00:29:13,180
which evaluated all contradictions

457
00:29:13,608 -> 00:29:17,878
regulated and, therefore,
the diaphragm and the distance?

458
00:29:18,626 -> 00:29:23,445
Everything was measured, as was seen
the purpose of the framework,

459
00:29:23,808 -> 00:29:27,743
with a certain purpose
emphasize the star militating

460
00:29:28,194 -> 00:29:33,001
and thus obtain a certain product,
a certain idea / commodity

461
00:29:33,463 -> 00:29:36,544
and this, again for some purpose.

462
00:29:36,866 -> 00:29:40,005
Recall, the production of this product

463
00:29:40,684 -> 00:29:42,775
is directly controlled
by the government of North Vietnam.

464
00:29:43,272 -> 00:29:46,519
But its diffusion out
Vietnam is not.

465
00:29:46,978 -> 00:29:50,375
When yes, very indirectly
466
00:29:50,796 -> 00:29:52,271
(Not to mention the feedback).

467
00:29:52,913 -> 00:29:56,172
This diffusion is controlled
by chain TVs

468
00:29:56,894 -> 00:29:58,465
newspapers and the "free" world.

469
00:29:59,129 -> 00:30:03,377
There is therefore a part of the movement
we need a means of communication,

470
00:30:04,080 -> 00:30:06,514
can not be made by
who planned the movement.

471
00:30:06,981 -> 00:30:12,042
What moves? And that departure
that game, is it?

472
00:30:12,531 -> 00:30:14,818
And played by whom?
For who? Against who?

473
00:30:15,546 -> 00:30:19,280
Say simply, now
(Back to this later)

474
00:30:19,843 -> 00:30:23,962
that examined the
clear relationship / off

475
00:30:24,499 -> 00:30:30,097
expressed by the two faces,
realized something extraordinary:

476
00:30:30,558 -> 00:30:36,650
smoky face is the clearest
and the face is the most crisp smoky.

477
00:30:37,433 -> 00:30:39,371
The Vietnamese can
afford to be smoky,

478
00:30:40,329 -> 00:30:44,392
because there is much that
in fact, it is clear.

479
00:30:45,093 -> 00:30:47,817
The U.S. is bound to be sharp

480
00:30:48,415 -> 00:30:53,922
(And is the smoky Vietnamese forces who
this, in a very clear).

481
00:30:54,652 -> 00:30:59,233
The U.S. is bound to emphasize
clearly its real esfumação.

482
00:30:59,754 -> 00:31:02,504
But none of that was mentioned in the text.

483
00:31:03,087 -> 00:31:08,649
This photo repeats another picture of actress

484
00:31:09,103 -> 00:31:11,374
which appeared on the cover of
same number of L'Express.

485
00:31:12,112 -> 00:31:15,152
The composition of this cover
is very eloquent,

486
00:31:15,625 -> 00:31:20,767
if we work in a view
Photo may cover as much as discover.

487
00:31:21,195 -> 00:31:24,472
A photograph imposes silence
while speaking.

488
00:31:25,028 -> 00:31:26,160
In our view,

489
00:31:26,783 -> 00:31:31,118
is one of the technical bases
double aspect of Jekyll and Hyde,

490
00:31:31,396 -> 00:31:32,435
principles and interests,

491
00:31:32,470 -> 00:31:38,132
it takes the information / deformation when
is transmitted through images / sounds

492
00:31:39,085 -> 00:31:45,486
in our time, the decline of
imperialism and

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