Sometimes, because of its immediacy, television produces a kind of electronic parable. Berlin, for instance, on the day the Wall was opened. Rostropovich was playing his cello by the Wall that no longer cast a shadow, and a million East Berliners were thronging to the West to shop with an allowance given them by West German banks! At that moment the whole world saw how materialism had lost its awesome historic power and become a shopping list.
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Advertising is not merely an assembly of competing messages; it is a language itself which is always being used to make the same general proposal
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One of the fundamental reasons why so many doctors become cynical and disillusioned is precisely because, when the abstract idealism has worn thin, they are uncertain about the value of the actual lives of the patients they are treating. This is not because they are callous or personally inhuman: it is because they live in and accept a society which is incapable of knowing what a human life is worth.
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Common-sense is part of the home-made ideology of those who have been deprived of fundamental learning, of those who have been kept ignorant. This ideology is compounded from different sources: items that have survived from religion, items of empirical knowledge, items of protective skepticism, items culled for comfort from the superficial learning that is supplied. But the point is that common-sense can never teach itself, can never advance beyond its own limits, for as soon as the lack of fundamental learning has been made good, all items become questionable and the whole function of common-sense is destroyed. Common-sense can only exist as a category insofar as it can be distinguished from the spirit of inquiry, from philosophy.
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Compare the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.
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All nationalisms are at heart deeply concerned with names: with the most immaterial and original human invention. Those who dismiss names as a detail have never been displaced; but the peoples on the peripheries are always being displaced. That is why they insist upon their continuity -- their links with their dead and the unborn.
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What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.
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In the modern world, in which thousands of people are dying every hour as a consequence of politics, no writing anywhere can begin to be credible unless it is informed by political awareness and principles. Writers who have neither product utopian trash.
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The media network has its idols, but its principal idol is its own style which generates an aura of winning and leaves the rest in darkness. It recognizes neither pity nor pitilessness.
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Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.
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A man's death makes everything certain about him. Of course, secrets may die with him. And of course, a hundred years later somebody looking through some papers may discover a fact which throws a totally different light on his life and of which all the people who attended his funeral were ignorant. Death changes the facts qualitatively but not quantitatively. One does not know more facts about a man because he is dead. But what one already knows hardens and becomes definite. We cannot hope for ambiguities to be clarified, we cannot hope for further change, we cannot hope for more. We are now the protagonists and we have to make up our minds.
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The envied are like bureaucrats; the more impersonal they are, the greater the illusion (for themselves and for others) of their power.
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When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss. It was more than that. It was the period in which we suffered more total losses than in all the rest of our life put together.
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Ours is the century of enforced travel of disappearances. The century of people helplessly seeing others, who were close to them, disappear over the horizon.
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The existence of pleasure is the first mystery. The existence of pain has prompted far more philosophical speculation. Pleasure and pain need ...
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I can't tell you what art does and how it does it, but I know that often art has judged the judges, pleaded revenge to the innocent and shown to the future what the past suffered, so that it has never been forgotten. Art, when it functions like this, becomes a meeting-place of the invisible, the irreducible, the enduring, guts, and honor.
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Glamour cannot exist without personal social envy being a common and widespread emotion.
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When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.
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In the modern world, in which thousands of people are dying every hour as a consequence of politics, no writing anywhere can begin to be credible unless it is informed by political awareness and principles.
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One can say of language that it is potentially the only human home, the only dwelling place that cannot be hostile to man.
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Men act and women appear. Men look at women. Women watch themselves being looked at.
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The opposite of love is not to hate but to separate. If love and hate have something in common it is because, in both cases, their energy is that of bringing and holding together
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We can become anything. That is why injustice is impossible here. There may be the accident of birth, there is no accident of death. Nothing forces us to remain what we were.
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I can't tell you what art does and how it does it, but I know that often art has judged the judges, pleaded revenge to the innocent and shown to the future what the past suffered, so that it has never been forgotten....
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Is boredom anything less than the sense of one's faculties slowly dying?
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Publicity is the life of this culture -- in so far as without publicity capitalism could not survive -- and at the same time publicity is its dream.
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I can't tell you what art does and how it does it, but I know that often art has judged the judges, pleaded revenge to the innocent and shown ...
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