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• W322525789 abstract "Everybody believed that the revolution was around the corner Apres mai Free Angela and all Political Prisoners Loin du Vietnam This year's Festival offered an extraordinary opportunity to cinematically tour the cultural and political landscape of the sixties, legendary decade of mass radicalization and challenge, both to everyday capitalism in the advanced world and to global imperialism everywhere. Those dizzying days of protest, war, violence and debate generated the great ambitions of the new social movements whose achievements so dramatically altered our cultural and social world since that epochal moment. Just as much, our times are marked by the limitations, integration and defeats of those movements. Indeed, the sixties have never really gone away, mocked and trivialized by the media, still the target for the vituperative condemnation and programmatic backlash of the Right, from Reagan to Sarkozy. But still, as these films, illustrate forcefully, an inspiration for contemporary hopes for rejuvenated radical politics. [ILLUSTRATION OMITTED] Signally, it was the events of May 68 in France that most returned social transformation in the advanced capitalist world as a real political possibility, after the crushing of thirties and forties radicalism in the reactionary quiescence of the Cold War fifties. The outstanding new film by Olivier Assayas is conceived in and suffused with the spirit of 68. Apres mai (titled innocuously Something in the Air in English) is a moving and exciting film, inspired, apparently, autobiographically by Assayas' youthful radical activism. Young Gilles, the stand-in for Assayas, is a high school militant in 1971, still filled with he promise and zeal of May 68, exhilarated by clashes with the police as well as passionate debates, and romantic infatuations, with comrades. Gilles is a budding artist, his development fuelled as much by spray painting illegal slogans at night as by his own drawing and reading. As a coming of age tale, the film is concerned with the difficult lessons of growing up but very consciously in a particular historical moment. The self-centred, even indulgent, nature of autobiography is contextualized with a convincing portrait of the sixties as cultural and social change and conflict in everything--all the excitement of sex, drugs, rock and roll--and revolution! The details of music, clothes, mores, hair, generational altitudes, gender and sexual politics are all part of the dramatization. There is, of course, an element of nostalgia here, especially for those of us who share a similar political biography. But that nostalgia is given import by the hopeful fusion of history with biography that the grand political epic of the sixties provides for the characters, and we spectators. Assayas tries to make us think historically about the sixties, and by extension, our present, through the opening eyes of his young self. (Of course, the fantasy that biography will just coincide with history is an especially masculine wish-fulfillment, sardonically noted by one of the characters in Alain Tanner's Jonah will be 25 in the year 2000, another great sixties film) [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] Assayas provided a lengthy lecture/interview for the press at this year's Festival; he is a strikingly intelligent and sophisticated critic of his own work and provided a number of valuable insights. He named Guy Debord, the legendary theorist and activist of the Situationist International--to some, one of the sparks of 68--as a key artistic and intellectual influence. We can see the film's presentation of Gilles and his comrades as enacting a politics of 'events'and counter-spectacle to the dominating and daunting power of the society of the spectacle. But Gilles' journey concludes with a job in the centre of that spectacle, the movie industry, so we cannot avoid finally confronting the allure and power of the prevailing social order. …" @default.
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• W322525789 date "2012-01-01" @default.
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• W322525789 title "The Sixties Redux" @default.
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