"So we need a conclusion" "We've been working in television for three months" "And now we need to come to a conclusion" "We ought to ask who this 'we' is" "We have to bring the thing to a close" "Make it die after having brought it to life" "We've made a TV series" "Six programmes" "Like six days" "The six working days of the week" "But a day is usually divided into two" "There's the morning and the evening" "Actually everything can be divided in two the big and the small" "men and women war and peace" "quickly and slowly before and after" "Six working days" "Six resting nights" "We've made six programmes" "Six times two programmes" "If we retain the image of a day's work, we could say there were the daytime programmes" "They were composed..." " as at school " "There were surnames and first names" "What were the names of the daytime programmes?" "The first was 'No one's there'" "The second was 'Object Lessons'" "The third daytime programme was 'Photo  co'" "The fourth 'No story'" "All these so-called days were in fact Sunday evenings" "The fifth daytime programme was 'We three'" "The sixth was 'Before and after'" "BEFORE AND AFTER" "The programmes whose name is a first name are the night-ime programmes if we keep to the day-night division" "The first evening was Louison" "The second night Jean-Luc" "The third night Marcel" "The fourth evening Nana" "The fifth Sunday evening René" "And the sixth Sunday evening there was Jacqueline and Ludovic" "So we composed six times two television programmes" "We set ourselves to learn in TV's tough school and we did our duty" "ME |" "OUTSIDE" "Since TV countains a bit of everything, our composition included maths, French and history" "There wasn't much sex because it's too difficult with such a taboo subject" "A bit of sport but not much because that's kept for the professionals" "A composition" "You could say that one way of making up the composition would be vertically including all the daytime programmes in one section and all the nighttime ones in the other" "In the same way as we move from night to day" "so one would move vertically from No One's There, Object Lessons," "Photo  Co, Tell Me Another, We Three, Before and After on the one hand" "And on the other hand, Louison, jean-Luc, Marcel, Nana, René, Jacqueline and Ludovic" "But we slowed it down a bit" "We had a bit of a rest and we may have had a nap" "In our factory we didn't just work, unlike other people's factories like Renault or the TV companies..." "But if we change from being up to lying down, if after No One's There, before we move to Object Lessons, we move from day to night..." "No One's There and then it's night, so there's Louison..." "Then after Louison we backtracked and we put on Object Lessons" "So we moved forward like that" "We made the programmes you've seen in that order" "No One's There, Louison..." "Then after Louison we backtracked and we put on Object Lessons" "There's a mixture of both things and something in between which crosses the border" "And that's here" "Here you can express it like this:" "there are two movements here" "Here too" "You can see that he..." "So that's how we went along" "So we made the programmes you've seen in that order" "No One's There, Louison" "Object Lessons, Jean-Luc" "Marcel, Photo  Co" "Marcel, No Story" "Nana, René(e)s" "We Three..." "Before and After" "Before and After" "That's what we've done" "So today we could say a couple of remarks" "What other people saw and what we think we were seeing" "Or what we wanted people to see but what we didn't succeed in showing them" "And some people have seen things very differently from us" "No On's There, for example..." "The unemployment..." "You realise that if you show..." "You're not trying to teach people anything because you'd give your lesson and the programme that followed would be Object Lessons" "But what we did was to go straight on with Louison" "But you realise that you are forced if you've talked about the unemployment" " we really should have talk about something else, but since that was the situation at the time we began with that" "People who previously had too much work and who now have none and who suffer because they've got less of what was too much" "And then the town dwellers and then somewhere where there's never unemployment somewhere where ther's too much work where people throw away surplus work where work is like a product that doesn't sell, like the farmers' work" "People said that in No One's There we made fun of people" "What we noticed was that the only people who agreed to talk for one hour on TV about themselves and not about other people they had to be below a certain fence bellow a certain line, bellow a horizon" "Their horizon is the minimum wage" "People who earn less than 2,000F a month leave" "People talk but their own horizons are limited by what they say" "Sentences they make up themselves if you like" "Object Lessons" "People have said thet we wanted to teach people a lesson" "But all we wanted was to shoaw a certain perspective to show that there are many perspectives and how people stand in relation to them dying in their feet or in their beds where when" "You can't teach TV a lesson" "But TV teaches lessons by appearing no to do so" "It's very complicated" "It's a huge swindle that everyone takes part in" "And we are involved in some part of this swindle" "We wanted to show what a television screen is simply a surface on which things are written" "If you write them you can criticise them" "But if you don't then they do out as they are" "Everything happens so quickly today that nothing happens because everything happens" "After that, we added people's names, it was rather amusing" "Louison, everyone thought it was his first name, but actually it's his surname" "After that there was a bloke called Jean-Luc and everyone gave him another name" "Everyone said:" "Godard" "Even though the programme was called Jean-Luc" "And people read it as Godard" "There are marks of the swindle there" "But who are the swindlers?" "The people who called it Jean-Luc?" "Or the people who read Godard?" "Who are the swindlers?" "The people who read?" "Or the people who learn to read?" "Or the people who teach the ones who are reading to read?" "The ones who read 'war'" "We always moved forward over and under the communication" "We showed very precise details everytime" "We made a lot of mistakes and blunders" "We tried to show where our mistakes and our blunders were" "Is it a job or a game?" "Is it a job or a game?" "A job" "So we have to pay you" "To show where our mistakes and our blunders were" "We often talked too loudly because we are weak" "Louison yelled for an hour whereas he hasn't the right to speak for 20 years" "He could speak for ten minutes every evening once, by chance" "because of our will to listen somebody talking for an hour about fields, soils, ownership or cows, he yelled" "But what did people say?" "'That's an extraordinary character!" "'" "They said he's right" "But if he is right, why does he have to say it again?" "If he's right where we are, where we're looking at him, we could try to understand why we are right and why we are wrong" "Because he is showing us why he is right" "In Photo  Co. we showed it's difficult to do because there are people whose job is to take photos or to write captions below these photos just as there are people whose job is to go to the factory and build cars" "or make matches or baressieres" "And the people whose job is to write captions or to take photos as they are paid to write captions or to tell stories" "We tried to show that even though they are paid to write stories they often write them just as badly as the person who builds roads or makes bicycles" "After that we showed someone who writes and makes pictures and captions but who doesn't want to be paid for it" "He is paid elsewhere, in his factory" "And he wants to keep this kind of work for his enjoyment" "We tried to show that it might be necessary to work at love and to love one's work" "And as it's impossible to love one's work in our society, nobody works at love anymore as a result..." "Overwork among the farmers, underwork in the factories" "Stories about men and silence from women" "That was the episodes No Story and Nana" "No Story: a few odd stories" "A little bit useless" "Like the thousands which are told every day" "Wespecially by men" "When women talk it's usually about men" "People said that the four women we'd found weren't very interesting" "Not very interesting..." "But the thing we ought to ask ourwelves is whether we'd find ourselves interesting on TV every day and whether an hour about a housewife or a woman in a factory is like an hour that would be devoted to a man" "Is an hour of a woman sunbathing interesting?" "Or a woman playing with a child or a woman working - the work being playing with the child" "trying to change small things in big things" "Is an hour like that interesting?" "We think it is" "And we are still below zero" "We predate television" "One day men, one day women, one day children, one day animals..." "When men will agree to be quiet, when they will shut up for a bit" "It won't stop them doing things, but they'll have to put a sock in it" "This woman, for example" "Who can say what she's doing?" "You see, even at the Olympic Games, even the ladies world high-jump champion someone who is a big star who has almost royal status, almost the status of a man" "Listen to the commentator" "He can't talk about her" "Instead he talks about a bloke who's somewhere near, another star" "He can't talk about this queen or her royal train" "That's all very sad" "What's wrong with TV is that we're alone" "And yet there are always 3 of us: the emitter, the receiver and the set" "The screen between them" "The speaker, the screen and the citizen" "The person who speaks and the person who listens" "But the one who listens also speaks" "The limitations of all thats" "We tried to look for in a field known by everybody or supposedly known by everybody" "Looking for somebody or something that could talk to us about the limitations of the mathematics a part of our language, the form itself our form, whether it was infinite, in its written translation X the unknown" "X and Y" "Male cell and female cell" "And the child which comes from both of them when they join together" "That's the birth" "And this birth is full of possibilities" "This birth which is full of possibilites is bordered by the infinity" "So that's all, we've just talked about... all morphogenesis derives from conflict" "Morphogenesis?" "Any generation of forms, the appearance of new forms" "Would human beings count as the appearance of new forms?" "Of course, because they result from a conflict" "What conflict?" "The conflict by which the fertilized egg is separated from the mother's body" "And you would describe that as a kind of military war?" "No, I wouldn't describe it as a war, but I would describe it as a conflict in a slightly more abstract sense" "I know that Heraclites use the word 'war', 'polemos' to describe the universality of the conflict" "But it's certain that war as we know it among human beings is one of the manifestations of conflict, a social manifestation of it, you might say" "So we've just talked about that not about us, not about you something between us and your you who are us, we who are you we who are part of you" "And we put we between us" "We are between us" "Television is a family business" "Daddy-day and mummy-night" "Daddy before and Mummy after" "De Sica, Sophia Loren and Marcella Mastroianni, with an Italian accent!" "And then from 4:30 or 4:45, there is sport when we'll be bringing you the racing results and of course the tierce and the Montreal Olympic Games" "This evening, there's another big film on TF1, at 8:30, the second one today" "It's a detective story with a lot of suspense called 'Sans sommation'" "A French-German-Italian co-production starring Maurice Ronet, Bruno Cremer and Annie Duperey" "And we finish the evening with..." "Television is a family business" "Daddy-day, mummy-night" "Daddy before and mummy after" "What comes between before and after?" "On the paper you can see word 'and' which made Marx and Nietzsche laugh" "And the language" "And the television" "Me, you and the television, between you and me between me and you between him and her" "TV's place is here" "Neither you nor me" "It's made for showing me, it's not made for showing you" "But things are so tense that that's what happens" "You're not in your place on television" "I'm not in my place on television" "Only television is on its place, there where it is, 'between'" "I know that no-one wants people to keep in their place but we're part of it too helping to put them in their place..." "Television is neither home nor factory" "It's between home and factory" "It happens between morning and night" "Between leaving home in the morning and the evening..." "'Going in' that is getting changed" "Getting changed to go out in the evening and that becomes 'going out'" "But if you go in you have to find someone who's coming to meet you" "Otherwise it's you who'll come out, you'll go back home, you'll come out of the factory again" "Coming out to meet me" "The revolution exists, of course, but who will go and meet it half way?" "reve (dream) - - evolution" "Sometines people succeed in getting out" "But who comes forward to meet them?" "Since the rest haven't got out yet?" "equals" "Where and when?" "Where and when will it happen?" "We don't know" "But where and when it does happen... it's possible to show it" "Television is neither home nor factory" "It's between home and factory" "It happens between morning and night" "Between leaving home in the morning and the evening" "For a woman who stays at home, it's working in her own place" "And if you go out to work, if you're a bloke, you a displaced person" "And that's exactly what we say if we take examples" "If we talk about Israel or about Palestine, what do we say?" "Israel won't budge" "And the result is that the other stay in the same place too much" "LIGHT" "WOMAN" "HOME" "REVOLT" "TEASE" "... stays in the same place too much" "Even though they are displaced persons, they are nowhere" "A nowhere that has been made into somewhere" "It will obviously come to a horrible end" "in the horror of being in exile of the horror of feeling like exiled inside their own bodies" "Sometimes, for a youngster, it must be hard, with his little space, to come up against the space that belongs to grown ups" "Or even worse, grown ups who try to diminish the youngster's dream of limitless space" "by the very smallness of the space he is given" "Even on TV, it's difficult for small people like us" "We work in provinces" "If we want to talk about someone who's out of work in the garage down the road we have to say it via Paris in order for them to receive the programme" "We could run up a cable and show it to them straight away and make them pay a little bit for that, nothing much" "But it isn't possible" "We have to go all the way to Paris to come back to your neighbour's house 10 yards away" "We see each other every day and it takes four motnhs before he happens to say, one fine morning:" "'Oh I saw what you did, not bad, quite good" "We'd like him to say more but he can't" "You have to make such a huge detour through Paris, through the centre" "NO BUSINESS CENTRE IS SERVED SO DIRECTLY BY SO MANY MEANS OF COMMUNICATION" "AND ALL THE MINISTRIES, THE GREAT POLICY MAKERS, THE SOURCES OF INFORMATION, ARE HERE" "THE GREAT POLICY MAKERS" "THE SOURCES OF INFORMATION" "ARE HERE" "We're our own centre but we still have to go through another centre which makes us the perimeter" "Even the quality of the pictures suffers" "The pictures we make are marvellous but because television is centralised the image loses quality because it passes through Paris, through a factory" "It needs a passport" "And technically this passport is called SECAM" "You need a SECAM passport to receive colour in France" "We could show them straightaway, as though you were seeing them that instant, with a mixture of red, green and blue" "But you have to go through the Paris customs and get your visa first" "In France it's a SECAM visa, and in other countries it's a PAL visa, and in other countries it's..." "In every country you have to go via the centre" "That way thay can be certain that the citizens don't communicate with each other and that the picture that's been taken of them, like this lovely picture of a little boy in billiant sunlight, will be spoilt" "It has to be spoilt" "If the picture were beautiful, can you imagine!" "geos through a centre" "That way they can be certain that the citizens don't communicate with each other and that the picture that's been taken of them, like this lovely picture of a little boy in brilliant sunlight, will be spoilt" "It has to be spoilt" "If it was beautiful..." "Can you imagine!" "What you see there isn't any more beautiful than life is" "You can't see the light but even if you saw it, it wouldn't bear any relation to the picture we took" "It's been hammered by SECAM it's been made to conform to technical norms wich in reality don't exist" "They're just kind of visa" "Other kinds of norm are possible" "Such as happinness or a high salary" "We're saying all this so that you know what we did and how we did it" "So I'm asking you to stay turned, because we have a long time to spend together" "Guy Lux never sever says how he does things, no television announcer say it" "And you will be able to relax with us" "Marchais never says it either, nor Chirac, nor Michel Drucker, nor Sylvie Vartan" "To begin our evening, here is Yvette, the heroine of our serial 'Madame, êtes-vous libre ?" "', played by Denise Fabre" "Episode number 12 today" "After that, at 12:45, you'll find Eliane Victor once again with her programme 'Jeune pratique'" "We have the right to tell that we are not interested but then we've no right to complain when we teel how we were sacked by the boss or how we were left by our husband, or how our daughter was raped..." "or rather we have the right but we shouldn't be surprise if no-one listens" "How has the listening post that no one listens to been manufactured?" "Today we know where and when it has been manufactured" "In front of the TV set and behind it" "Because we've already thought of the change from things are bad to things are good..." "We say things are bad here and elsewhere..." "Things should go well... but in order to be good, things have first to be bad" "Because there is already a relationship between things are bade and things are good..." "It means to go forwards or backwards to go from a before to an after, and to go back from a before to an after and between before and after there is something..." "Silence, speech" "Perhaps there would be no before or after if there were no speech or silence" "Perhaps in a perfect world things won't be called they will be lived" "And we won't be here to simply say 'we will live them'" "An image, a sound, an instrument like television" "It's already an image of what could be that which is between the past which is and the future which would like to be good" "It's for this reason that we thing television is important it can show people... who have problems" "DIRECTED BY"