Langlois hay dating
The art students featured in Patricia Holland's recently-exhumed documentary The Hornsey Film (1970) rail against the bureaucratisation of their degrees and what they see as the artificial gulf between themselves and their lecturers.
Similarly, in Godard's little-known British Sounds (1969), Essex University students are shown debating revolutionary tactics as well as putting the Beatles under intellectual scrutiny.
Rally after rally was organised, one of which featured Jean-Pierre Léaud, the lead actor in Truffaut's first masterpiece, Les 400 Coups (1959).
Eventually, on May 2, Langlois reopened his cinema.
Even rock festivals, far from being solely about music, were visions, as fleeting but as important as chemically-induced dream-spaces, of an altered and sometimes sublime republic.
Adrian Henri's poem "Me", quoted by Jeff Nuttall in his book Bomb Culture (1968), captures the changed landscapes of the late 1960s in which the gaps between past and present, high and pop culture, avant-seriousness and ludic caper, no longer seemed as wide as they once had: Stephané Mallarmé and Alfred de Vigny Ernst Mayakovsky and Nicolas de Staël Hindemith Mick Jagger Dürer and Schwitters Garcia Lorca and last of all me.
Langlois had created the institution decades before and had made it into one of the world's finest film archives, personally saving titles such as Abel Gance's Napoléon from oblivion, keeping the place running through the dark years of the Nazi occupation, and curating adventurous programmes that inspired a generation of teenage cinephiles, among them Truffaut and Godard, to become film makers.
This, as reflected in the Situationist slogan "Sous les pavés la plage" ("Underneath the pavement, the beach"), was a bold, almost surreal project.
It also involved coming up with a new geography of struggle: the barricade, the commune, the squat - semi-autonomous zones that allowed for both self-emancipation and collectivist social models.
The film, commissioned and then banned by London Weekend Television, also features militant car-plant workers, a fist punching through the Union Flag, and a naked woman wandering around while an essay by the feminist historian Sheila Rowbotham is recited.
Both it and The Hornsey Film were cine-essays as much as conventional documentaries.1968, whether at the Sorbonne, the London School of Economics or Berkeley, did not initiate an era of campus rebellion; these had flared up in Mexico City, Dakar and Bogota throughout the 1960s.
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They had been prefigured by the hostility to the American campaign in Vietnam that inspired the resentment of the US military that was dramatized in Peter Brooks's Tell Me Lies (1968) and is echoed in much of the present-day hostility to the War On Terror.